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<h1><a href="https://archiveofourown.org/works/26664052">The X-Men | Inherit The Earth: Episode 2 - A Dream Deferred</a> by <a class='authorlink' href='https://archiveofourown.org/users/tW_oT/pseuds/tW_oT'>tW_oT</a></h1>

<table class="full">

<tr><td><b>Series:</b></td><td>The X-Men | Inherit The Earth: The TV Series [2]</td></tr>

<tr><td><b>Category:</b></td><td>X-Men (Alternate Timeline Movies), X-Men - All Media Types</td></tr>

<tr><td><b>Genre:</b></td><td>Brotherhood of Mutants (X-Men), District X, Gen, Morlocks (X-Men), Mutant Registration Act (Marvel), Mutant Town, Origin Story, Politics, Screenplay/Script Format, Television, The Purifers (X-Men)</td></tr>

<tr><td><b>Language:</b></td><td>English</td></tr>

<tr><td><b>Status:</b></td><td>Completed</td></tr>

<tr><td><b>Published:</b></td><td>2020-09-28</td></tr>

<tr><td><b>Updated:</b></td><td>2020-09-28</td></tr>

<tr><td><b>Packaged:</b></td><td>2021-05-06 11:49:48</td></tr>

<tr><td><b>Rating:</b></td><td>Teen And Up Audiences</td></tr>

<tr><td><b>Warnings:</b></td><td>Graphic Depictions Of Violence</td></tr>

<tr><td><b>Chapters:</b></td><td>1</td></tr>

<tr><td><b>Words:</b></td><td>12,906</td></tr>

<tr><td><b>Publisher:</b></td><td>archiveofourown.org</td></tr>

<tr><td><b>Story URL:</b></td><td>https://archiveofourown.org/works/26664052</td></tr>

<tr><td><b>Author URL:</b></td><td>https://archiveofourown.org/users/tW_oT/pseuds/tW_oT</td></tr>

<tr><td><b>Summary:</b></td><td><div class="userstuff">
              <p>Xavier searches the globe for his former students. Ismael is tasked with finding an elusive mutant. Kurt and Logan make their way towards New York. Rogue goes on her first mission.</p>
            </div></td></tr>

<tr><td><b>Series:</b></td><td>The X-Men | Inherit The Earth: The TV Series [2]</td></tr>

<tr><td><b>Series URL:</b></td><td>https://archiveofourown.org/series/1940074</td></tr>

<tr><td><b>Kudos:</b></td><td>2</td></tr>

</table>

<a name="section0001"><h2>The X-Men | Inherit The Earth: Episode 2 - A Dream Deferred</h2></a>
<div class="story"><div class="fff_chapter_notes fff_head_notes"><b>Author's Note:</b><blockquote class="userstuff">
      <p>[SPOILER ALERT for Episode 1]</p><p>PREVIOUSLY ON "THE X-MEN"...</p><p>With the passing of the Mutant Registration Act, mutants across the U.S. are being rounded up and placed in detainment camps. World-renowned professor and secret mutant Charles Xavier has recruited two of his former students, Scott Summers and Jean Grey, to join him in building a coalition of mutants to come out publicly and change the perception of mutantkind. </p><p>In Mexico, mutant refugee Kurt Wagner has teamed with the mysterious and dangerous Logan to seek Xavier's help in New York. Meanwhile, presidential candidate and the MRA's sponsor Senator Robert Kelly has agreed to work with televangelist William Stryker to bolster his campaign, as long as Stryker can get rid of Logan,  who is the only person left who knows about Stryker's unethical experimentation on mutants while he was with the military. </p><p>After discovering that his 12-year-old daughter Angie is a mutant, NYPD Officer Ismael Ortega moves into "Mutant Town", the nickname for two tenement high-rises in New York's Lower East Side that mob boss Unus the Untouchable is renting out to mutants fearing detainment. In exchange, Ismael agrees to act as Unus's police informant and enforcer. </p><p>In Atlanta, the terrorist group known as the Brotherhood of Mutants liberates a mutant detainment camp. Two of the freed mutants, Rogue and Toad, decide to join the Brotherhood's ranks.</p>
    </blockquote></div><div class="userstuff module">
    
    <p>
  <span class="u">EXT. FARM - UST-ORDYNSKY, RUSSIA -- DAY - 3 YEARS EARLIER </span>
</p><p>A BUTTERFLY among the WHEAT FIELDS. ILLYANA RASPUTIN, 9, an adorable blonde, reaches for it. </p><p>PIOTR "PETER" RASPUTIN, 17, white, already a mountain of a man, loads BALES OF HAY into a TRUCK, keeping pace with the TRACTOR LOADER behind him.</p><p>Their MOTHER, 50s, steps out of a nearby BARN. Gazes out into the fields that stretch to the horizon.</p><p>
  <strong>CHYRON: UST-ORDYNSKY, RUSSIA - 3 YEARS EARLIER </strong>
</p><p>Another TRACTOR drives out of the barn and into the wheat, HUMMING. The DRIVER slips a bulky pair of HEADPHONES on.</p><p>Illyana catches the butterfly, closing her palms around it. Then opens her hands. To her surprise, the butterfly is gone. </p><p>She suddenly CONVULSES, eyes ROLL BACK. She falls to the ground. Hidden in the wheat.</p><p>MOTHER<br/><em>(in Russian)</em><br/>Illyana! Time to come in...<br/>Illyana!<br/><em>(to Peter)</em><br/>Do you see her?</p><p>Peter looks across the fields. Only the Driver riding the tractor is visible. He wades through the wheat.</p><p>PETER<br/><em>(in Russian)</em><br/>Illyana! Little snowflake!</p><p>Peter sees a group of TREMBLING REEDS. The Driver is headed right towards it, picking up speed. Peter RUNS.</p><p>MOTHER<br/><em>(in Russian)</em><br/>Peter... Peter, what’s wrong?</p><p>Peter waves his hands, but the Driver’s not looking. The Mother moves from the barn, running in the wheat. Illyana shakes on the ground. The tractor is almost over her.</p><p>Peter cuts through the field. He sees Illyana seizing on the ground and DIVES for her, shielding her with his body. He looks up and is met by the GRILL of the tractor.</p><p>The Mother FREEZES as she hears the CRUNCH OF METAL. Sees the tractor LURCH BACK, back tires kicking up.</p><p>The Driver turns off the engine, climbs down. Walks to the front of the SMOKING tractor. He can’t believe his eyes.</p><p>As Peter stands the COMPACTED FRONT OF THE TRACTOR unwraps from around him, giving way to his now shining, STAINLESS STEEL BODY. He’s a foot taller now, his clothes are in SHREDS. In his arms is Illyana, unscathed. Unconscious.</p><p>The Driver and Mother step back. In shock.</p><p>PETER<br/><em>(in Russian)</em><br/>Mama, I... I didn’t know how to<br/>tell you.</p><p>Beat. Then the Mother wraps her arms around Peter. Runs her hand through Illyana’s hair.</p><p>The Driver keeps backing up, then breaks into a run. The Rasputins exchange worried glances as he leaves.</p><p>
  <span class="u"><br/>INT. CORRIDOR/WAREHOUSE - BROOKLYN, NY -- NIGHT</span>
</p><p>UNUS and CARMELLA stride through. Confident. Empty-handed.</p><p>
  <span class="u"><br/>INT. WAREHOUSE -- NIGHT</span>
</p><p>Unus and Carmella enter to see THIRTY RUSSIAN MOBSTERS, all dressed in black, waiting. On either side of them are STACKS OF LONG WOODEN CRATES. Their GANG BOSS, 40s, steps forward.</p><p>
  <strong>CHYRON: BROOKLYN, NEW YORK - PRESENT DAY</strong>
</p><p>GANG BOSS<br/><em>(thick Russian accent)</em><br/>You’re late.</p><p>UNUS<br/>Eh, bridge traffic... So, what do<br/>we got?</p><p>The Gang Boss signals his men. Two carry a crate over, drop it in front of Unus and Carmella. They PRY it open with a crowbar. Inside are several MACHINE GUNS.</p><p>UNUS (CONT’D)<br/>Thank you. And ammo?</p><p>Another mobster brings over another crate, opens it. Carmella takes out a gun and magazine. She LOADS it. Checks it.</p><p>UNUS (CONT’D)<br/>How we lookin’, sis?</p><p>CARMELLA<br/>Looks good to me. See for yourself.</p><p>She hands it to him. He inspects it, while she loads another.</p><p>GANG BOSS<br/>Where are your men?</p><p>UNUS<br/>Excuse me?</p><p>GANG BOSS<br/>Your men? No one to load the<br/>crates, no one with the cash...</p><p>Unus points the gun at a BALD MAN and a SHORT GUY behind the Gang Boss.</p><p>UNUS<br/>Oh, uh... Actually “Baldy” over<br/>there and... “Shortstuff” are gonna<br/>load all this up for us. And we<br/>ain’t payin’.</p><p>GANG BOSS<br/><em>(laughing)</em><br/>You’re not paying?</p><p>UNUS<br/>Nah. We figure... Life’s too short.<br/>Why not just take it?</p><p>GANG BOSS<br/>And how do you expect to do that?</p><p>UNUS<br/>Well, we’re gonna kill all of you.<br/>‘Cept for Baldy and Shortstuff, of<br/>course. And then we’re just<br/>gonna... Take it.</p><p>Beat.</p><p>GANG BOSS<br/>Prigotovtes'!</p><p>Many of the mobsters pull out HANDGUNS, aiming at Unus.</p><p>UNUS<br/>I was wondering how this was gonna<br/>kick off...</p><p>Unus raises the machine gun. One of the mobsters FIRES.</p><p>The bullet RICOCHETS off of Unus’s chest. A WAVE OF SHIMMERING LIGHT radiates out from the point of impact, like ripples in a pond, illuminating the FORCE FIELD that extends mere centimeters from Unus’s body.</p><p>UNUS (CONT’D)<br/>See? Runs in the family too.</p><p>Unus and Carmella EMPTY THEIR GUNS. A THUNDEROUS BLOODBATH.</p><p>The mobsters fire back. The bullets bounce off Unus and Carmella’s respective force fields and strike other men. Some fire the machine guns from the crates, but it doesn’t matter.</p><p>Unus and Carmella stroll through casually, swinging the guns with abandon. Reloading whenever necessary. Smiling.</p><p>Unus comes to the Bald Man, crouching behind one of the crates. The Bald Man lifts his gun.</p><p>UNUS (CONT’D)<br/>Oh! Baldy. I told you, you’re OK. I<br/>need your help with all this. Cool?</p><p>The Bald Man nods nervously.</p><p>CARMELLA (O.S.)<br/>Hey Angelo.</p><p>Unus looks at Carmella who’s propping up Short Guy’s corpse.</p><p>CARMELLA (CONT’D)<br/>Must’ve caught a ricochet.</p><p>UNUS<br/>Goddamn it, Carm. I wanted--</p><p>A CLANGING. Unus and Carmella turn and immediately open fire. The bullets BOUNCE off the metal skin of Peter, visible under his bullet-shredded clothes. He RUNS out of the warehouse.</p><p>UNUS (CONT’D)<br/>The hell was that?</p><p>CARMELLA<br/>Russians got their own damn mutant.</p><p>
  <span class="u"><br/>EXT. WATERFRONT -- NIGHT</span>
</p><p>Peter exits and then stops. His skin shifting back to flesh. He looks around, panicked, then he takes off into the night.</p><p>
  <span class="u"><br/><strong>MAIN TITLES</strong> </span>
  <br/>
  <span class="u"> <strong>“A Dream Deferred”</strong> </span>
</p><p>
  <span class="u"><br/>EXT. RAILWAY -- NIGHT</span>
</p><p>An AMTRAK TRAIN shoots through the countryside.</p><p>
  <span class="u"><br/>INT. AMTRAK TRAIN -- DAY </span>
</p><p>SCOTT and JEAN sit across from each other in the dining car. LEFTOVERS grow cold on the plates in front of them.</p><p>SCOTT<br/>Again. Sorry about this. TSA...<br/><em>(touches his visor)</em></p><p>JEAN<br/>Come on, who doesn’t love a 17 hour<br/>train ride to Chicago?<br/><em>(beat)</em><br/>What is it that you all have<br/>against phone calls, exactly?</p><p>SCOTT<br/>Never know who’s listening.</p><p>Beat.</p><p>JEAN<br/>So you think the government is<br/>tapping the phones of mutant<br/>sympathizers, and you still feel<br/>like visiting Hank at school is the<br/>priority here?</p><p>SCOTT<br/>I know you want to find this Angie<br/>girl, but she’s only one girl. The<br/>coalition we’re <em>recruiting</em> Hank for<br/>is going to help thousands of<br/>girls, boys... Mutants all over.<br/>This is big picture.</p><p>JEAN<br/>Scott, I’m telling you. She could<br/>be picked up at any moment--</p><p>SCOTT<br/>You already made sure no one from<br/>the school is gonna report her.<br/><em>(beat)</em><br/>Could’ve just <em>made</em> her Dad bring<br/>her to us while you were at it.</p><p>JEAN<br/>That wouldn’t have been right.<br/><em>(off Scott’s scoffing)</em><br/>I didn’t have a choice, Scott.<br/><em>(beat)</em><br/>A lot of those people were my<br/>friends. I didn’t enjoy doing that.</p><p>SCOTT<br/>Yeah well, there’s gonna be a lot<br/>more tough choices to make.</p><p>Beat.</p><p>JEAN<br/>You really think rounding up the<br/>old gang: Hank, Ororo, Calvin...<br/>And going on a publicity tour is<br/>gonna fix the “mutant problem?”</p><p>SCOTT<br/>I thought you were in?</p><p>JEAN<br/>I am in. I don’t wanna be on the<br/>sidelines anymore, but that doesn’t<br/>mean I agree with everything...<br/><em>(beat)</em><br/>There are people that need Xavier--<br/>Need us. Right now. Meanwhile,<br/>we’re sitting on a cross-country<br/>train like it’s the dust bowl.</p><p>SCOTT<br/>Well... Next time we can probably<br/>take the jet.</p><p>JEAN<br/>...There’s a jet?</p><p>
  <span class="u"><br/>EXT. JOMO KENYATTA AIRPORT - NAIROBI, KENYA -- DAY</span>
</p><p>THE PROFESSOR and FORGE deplane from the PRIVATE JET.</p><p>
  <span class="u"><br/>EXT. DOWNTOWN STREETS -- DAY</span>
</p><p>The Professor snags a plate of NYAMA CHOMA from a VENDOR on a busy, cosmopolitan street corner. Forge talks with a CAB DRIVER, 30s, black, leaning through the window of his SUV.</p><p>
  <strong>CHYRON: NAIROBI, KENYA</strong>
</p><p>FORGE<br/>Me and the guy with the chair.</p><p>CAB DRIVER<br/><em>(Kenyan accent)</em><br/>The chair is no problem. Come with<br/>me. I will take you wherever.</p><p>FORGE<br/>We’re going North. To Umoja.</p><p>CAB DRIVER<br/>Umoja? You know that’s Samburu<br/>territory, right? No electricity,<br/>no running water. What makes you<br/>want to go there?</p><p>FORGE<br/>...Friendship.</p><p>
  <span class="u"><br/>I/E. TAXICAB/A2 ROAD -- DAY</span>
</p><p>SKYSCRAPERS and GREAT BRANCHING TREES whip by the window. Xavier and Forge head for the distant sun-drenched plains.</p><p>
  <span class="u"><br/>INT. HALLWAY/MUTANT TOWN HIGH-RISES - NEW YORK, NY -- DAY</span>
</p><p>ISMAEL KNOCKS on an apartment door. LORELEI opens it, wearing an OVERSIZED T-SHIRT. He recognizes her, tongue-tied.</p><p>LORELEI<br/>...Yeah?</p><p>ISMAEL<br/>He-hey. Uhh... Do you have eggs?<br/><em>(off Lorelei’s look)</em><br/>I’m making breakfast. And I don’t<br/>have any-- Sorry. I’m Ismael.<br/><em>(offers hand)</em><br/>Just moved in. Next door. And I’m<br/>making breakfast for my daughter<br/>and if I could borrow an egg or two<br/>you’d be saving me right now. </p><p>Lorelei shakes the hand.</p><p>LORELEI<br/>You were in the club the other<br/>night. Don’t see a lot of guys<br/>bringing their little girls in.</p><p>ISMAEL<br/>Yeah, yeah. I uh... I don’t have a<br/>lot of options with her. Not that--<br/>I wasn’t there for--</p><p>Lorelei smirks at his discomfort.</p><p>LORELEI<br/>Unus, I get it. “One of us...”</p><p>ISMAEL<br/><em>(nodding)</em><br/>I’m not but, she is. Yeah.</p><p>LORELEI<br/>Lorelei... Eggs, huh? What’re you<br/>makin’?</p><p>
  <span class="u"><br/>INT. ISMAEL'S APARTMENT/MUTANT TOWN HIGH-RISES -- DAY</span>
</p><p>Ismael flips a FRENCH TOAST slice over. It SIZZLES next to some EGGS on the stove. Across the room Lorelei sits at the table with ANGIE, who’s playing with Lorelei’s moving hair.</p><p>ANGIE<br/>Wow.</p><p>LORELEI<br/>Wow? Look at you, your wings are<br/>wow. Talk about wow. You know how<br/>much I always wanted to fly?</p><p>ANGIE<br/>I don’t know if I can fly yet.</p><p>Ismael slides Angie a slice, then returns to the stove.</p><p>ISMAEL<br/>No jumping off stuff to try it out.<br/>Hurry up and eat, mija. I gotta go<br/>in a second.</p><p>LORELEI<br/><em>(to Angie)</em><br/>What’re you gonna do all day with<br/>your Dad gone?</p><p>ANGIE<br/>Watch YouTube. I’m very behind.</p><p>ISMAEL<br/><em>And</em> read. I just got you all those<br/>books. About that girl, with the...</p><p>LORELEI<br/>You know there’s a school-- Well, a<br/>daycare, really-- for all the kids<br/>in the building who can’t go to<br/><em>school</em>-school. This bleeding heart<br/>human runs it, Ms. Palmer.</p><p>ISMAEL<br/>Sounds great, but I don’t know her.</p><p>LORELEI<br/>Oh come on. You don’t know me, I’m<br/>obviously great. I’ll take her<br/>down. Pick her up when you’re back.</p><p>ANGIE<br/>I’d rather stay here. The other<br/>kids are just gonna stare at me the<br/>whole time anyway.</p><p>ISMAEL<br/>See? Stay here. Watch the YouTube.</p><p>Lorelei walks to Ismael. She takes the pan out of his hands.</p><p>LORELEI<br/><em>(sotto)</em><br/>First off, you can’t let her just<br/>sit around watching makeup<br/>tutorials online when she’s already<br/>scared of kids staring. That’s how<br/>girls get complexes.<br/><em>(beat)</em><br/>Secondly. We help each other out<br/>around here. And if you’re gonna<br/>live here, you need to get onboard.<br/>We’re not what you think. Now sit.</p><p>Ismael takes a seat. Lorelei grabs a plate and tosses it on the table in front of him. Finishes scrambling the eggs.</p><p>LORELEI (CONT’D)<br/>Girl needs school.</p><p>
  <span class="u"><br/>EXT. MUTANT TOWN HIGH-RISES -- DAY</span>
</p><p>Ismael exits in his police uniform. He sees Unus get out of a BLACK CAR parked on the street out front. Ismael walks over.</p><p>UNUS<br/>How we doin’ sheriff? All moved in?</p><p>ISMAEL<br/>Yeah. Yeah, everything’s good.</p><p>UNUS<br/>Good to hear. So... Listen. I’ve<br/>got a situation that requires your<br/>professional expertise.</p><p>Unus puts his arm around Ismael, walking with him.</p><p>UNUS (CONT’D)<br/>Had a meeting with some business<br/>associates over in Brooklyn<br/>recently. Generally went very well,<br/>but there was a... Loose end. Need<br/>it cleared up or everything goes<br/>south. I’m hoping you can use your<br/>resources to help me out.</p><p>ISMAEL<br/>What kind of loose end?</p><p>They stop.</p><p>UNUS<br/>A mutant. Russian... Probably<br/>Russian, that’s their M.O.. Big<br/>guy, metal skin.</p><p>ISMAEL<br/>I thought I was just watching the<br/>high-rises?</p><p>UNUS<br/>Plans change. Consider this an<br/>opportunity to prove you’re worthy<br/>of the title. Alright, sheriff? You<br/>work your magic. You find him, you<br/>bring him to me.</p><p>Unus pats Ismael’s cheek then leaves. Ismael watches him go.</p><p>
  <span class="u"><br/>EXT. PETER’S APARTMENT BUILDING - BROOKLYN, NY -- DAY</span>
</p><p>Peter, in FOUND CLOTHING, hides in the bushes watching two RUSSIAN MOBSTERS in dark jackets guard the entrance. One paces, the outline of the machine gun visible through the jacket. A WOMAN and her dog enter with no problem.</p><p>Peter gazes up at a window on an upper floor. A MAN’S  SILHOUETTE moves across the window. Peter’s jaw clenches.</p><p>CUT TO BLACK.</p><p>PULSATING RIBBONS OF YELLOW AND PINK. OOZING. UNDULATING. </p><p>
  <br/>
  <span class="u">INT. ARBOR MAGNA/KRAKOA -- DAY</span>
</p><p>ROGUE jolts awake inside a huge cavern. The ground around her is wet. In the center is a GIANT TREE, growing into the ceiling, with large PINK BULBS within it’s trunk.</p><p>CHROME (O.S.)<br/>Island dreaming... Trippy, right?</p><p>She turns to see CHROME, 18, a smiling Chilean man with blue and white hair, extending a hand. Rogue takes it, gets up.</p><p>CHROME (CONT’D)<br/>Come on... We’re all outside. Your<br/>friend too.</p><p>Rogue follows Chrome out of the cavern.</p><p>
  <br/>
  <span class="u">EXT. KRAKOA -- DAY</span>
</p><p>Rogue follows Chrome into a NATURAL CANOPY made from overgrown tropical fauna. Everything is green and lush.</p><p>FIVE MUTANTS sit chatting nearby. As Rogue emerges they turn and stand: VAPOR, 40s, a warm, red-headed woman; PYRO, 20s, a lanky blonde man; VERTIGO, 20s, a woman with pale green hair; BLOB, 30s, white, an IMPOSSIBLY OBESE man; and TOAD.</p><p>
  <strong>CHYRON: BERMUDA TRIANGLE</strong>
</p><p>Vapor approaches Rogue.</p><p>VAPOR<br/>Hi Rogue. How’re you feeling?</p><p>ROGUE<br/>OK, I guess.</p><p>VAPOR<br/>Good, good. It’s normal for the<br/>first trip to knock you out. Seems<br/>we all have the same dream too.</p><p>ROGUE<br/>What is this place?</p><p>VAPOR<br/>This is Krakoa. Where we live.</p><p>ROGUE<br/>And you’re...</p><p>The other mutants walk forward, careful not to get too close.</p><p>VAPOR<br/>Yeah. The Brotherhood of Mutants.<br/>We all are.</p><p>PYRO<br/><em>(thick Australian accent)</em><br/>Pyro, love.</p><p>VAPOR<br/><em>(gesturing around)</em><br/>And this is Vertigo... And Blob.<br/>Toad told us a little about you<br/>already.</p><p>Pyro hooks a playful elbow around Toad’s neck.</p><p>PYRO<br/><em>(to Rogue)</em><br/>Couldn’t right wait for you, now<br/>could he? Had to come out and be<br/>with the boys.</p><p>CHROME<br/>I’m Chrome. Toad said not to touch<br/>you, but... Can we...</p><p>He spreads his arms for a hug. Rogues backs up.</p><p>CHROME (CONT’D)<br/>No? OK. Just uh...<br/><em>(raises his arm in salute)</em><br/>Sorry.</p><p>Rogue salutes back, smirking. </p><p>VAPOR<br/>And I’m Vapor. Or Amelia, if it’s<br/>easier. We try not to use our human<br/>names-- We believe in mutant self-<br/>determination and that starts with<br/>naming ourselves, but-- I know all<br/>of that can be... A lot. In the<br/>beginning.</p><p>ROGUE<br/>Where are we?</p><p>VAPOR<br/>Not far. An island, off the coast<br/>of Florida. A mutant island.</p><p>ROGUE<br/>Everyone that lives here is a<br/>mutant?</p><p>VAPOR<br/>No, actually... No, it’s a bit more<br/>complicated than that.</p><p>Rogue cocks her head, curious.</p><p>
  <span class="u"><br/>I/E. TAXICAB/KENYAN PLAINS -- DAY</span>
</p><p>TORRENTIAL RAIN obscures the taxi windshield. Wheels SPUTTER as the dirt road turns to mud. From inside, the Professor and Forge watch a SAMBURU MAN herd his CATTLE in the storm.</p><p>
  <strong>CHYRON: SAMBURU COUNTY, KENYA </strong>
</p><p>CAB DRIVER<br/>This is as far as I’ll take you, my<br/>friend. I’m sorry. Umoja is not<br/>far, but I have to turn around.</p><p>Forge gets out as the trunk opens. The Professor rolls out of the back as more Samburu Men pass by, pointing to the sky.</p><p>SAMBURU MAN<br/>Ngai! Ngai!</p><p>FORGE<br/>Ngai?</p><p>PROF. XAVIER<br/>“Rain,” I believe.</p><p>CAB DRIVER<br/>Almost. Ngai means “Goddess.”</p><p>He pulls off, kicking water up as he turns around.</p><p>FORGE<br/>Goddess, huh?</p><p>Forge and the Professor smile at one another. They gaze at the sky. A figure hovers in the storm clouds, arms outstretched, something like a cape billowing. A WOMAN. </p><p>PROF. XAVIER<br/>{Hello, Ororo.}</p><p>THUNDER CRACKS. LIGHTNING BACKLIGHTS her. Then the figure disappears behind the clouds. The rain slows.</p><p>The clouds descend unnaturally, becoming a low-hanging fog. OUT OF THE FOG walks a GODDESS. Or the closest thing to one.</p><p>ORORO MUNROE, 26, dark chocolate skin, shining white eyes, a wind-whipped mane of SNOW-WHITE DREADLOCKS down to her waist, glides forward in cutoff jeans and a brightly-colored shuka. She waves off the last of the clouds. The SUN SHINES through.</p><p>ORORO<br/><em>(Liberian accent)</em><br/>By the Bright Lady, Forge and<br/>Charles Xavier.</p><p>PROF. XAVIER<br/>Apologies. For the interruption.</p><p>ORORO<br/>...You are both forgiven.</p><p>They all smile.</p><p>
  <br/>
  <span class="u">EXT. UMOJA VILLAGE -- LATER</span>
</p><p>The Professor, Forge and Ororo walk through the village. Samburu women walk about, children play together happily.</p><p>ORORO<br/>I was home in Liberia when I caught<br/>word of the drought. I knew I was<br/>needed so I came, but I didn’t know<br/>how much I’d enjoy it. I’ve been<br/>here three years now.</p><p>PROF. XAVIER<br/>Well, I’m sure being worshipped is<br/>hard to walk away from.</p><p>ORORO<br/>It has it’s moments.<br/><em>(beat)</em><br/>But they don’t actually believe me<br/>to be their god, Charles. Just that<br/>God sent me to them. And who’s to<br/>say that she didn’t.</p><p>Forge looks around, pensive.</p><p>FORGE<br/>Where are all the men, Ororo?</p><p>ORORO<br/>The women here decided they didn’t<br/>need them anymore.</p><p>
  <span class="u"><br/>INT. ORORO’S MANYATTA -- LATER </span>
</p><p>Storm fixes the Professor a cup of tea as Forge paces around, inspecting the hut.</p><p>PROF. XAVIER<br/>The world is changing. Hiding is a<br/>luxury we can’t afford for much<br/>longer. Drought or not, I suspect<br/>that is, at least in part, your<br/>purpose here.</p><p>ORORO<br/>Umoja has been... Therapeutic. You<br/>know better than most my need for<br/>something like that. But you’re not<br/>wrong, Charles. I should’ve moved<br/>on awhile ago.</p><p>PROF. XAVIER<br/>Come back to my home. We will be<br/>the first mutants in the world to<br/>come forward voluntarily. To give<br/>the “mutant problem” a human face. </p><p>FORGE<br/>And what a face.</p><p>ORORO<br/>Flattery, Forge? You know me better<br/>than that.</p><p>FORGE<br/>That wasn’t for you. That was for<br/>me.</p><p>Ororo smiles, turns back to the Professor.</p><p>ORORO<br/>When do we start?</p><p>PROF. XAVIER<br/>We have a few more stops first.</p><p>
  <br/>
  <span class="u">INT. LIVING ROOM/CALLASANTOS APARTMENT - NEW YORK, NY -- DAY </span>
</p><p>CAMERON PALMER, 30s, a girl-next-door brunette, corrals a group of KIDS, most with obvious mutations. MARIA CALLASANTOS, 15, a girl with brown-white fur, cat eyes and a tail, helps her while holding a BOOK BASKET.</p><p>Angie sits alone at the far end of a long folding table, head down. Looking like the new kid.</p><p>CAMERON<br/>OK... OK listen! I need all the<br/>older students to read with the<br/>young ones. Maria will pair you up.</p><p>The kids line up in front of Maria. Angie waits her turn.</p><p>She reaches the front and Maria smiles, hands her a book.</p><p>MARIA<br/><em>(gesturing to the back)</em><br/>I want you to go read with Artie in<br/>the corner, OK? He needs special<br/>help. Can you do that?</p><p>Angie nods. She walks back towards ARTIE MADDICKS, 8, a boy with pink skin and a misshapen bulbous head.</p><p>ANGIE<br/>Are you Artie?</p><p>Artie nods. Angie sits and presents the book. It’s PETER PAN.</p><p>ANGIE (CONT’D)<br/>We’re gonna read Peter Pan. Can you<br/>say Peter Pan?</p><p>Artie shakes his head.</p><p>ANGIE (CONT’D)<br/>That’s OK, I can read it for you.</p><p>Artie points at the image of Tinkerbell on the book cover. He then looks up and points at Angie.</p><p>ANGIE (CONT’D)<br/>Me? Is that me?<br/><em>(off Artie’s nod)</em><br/>Yeah. Yeah... I guess, it could be.</p><p>Artie holds his hands out. A CRUDE COPY OF THE TINKERBELL IMAGE appears in the air, floating. Angie watches, eyes wide. She reaches for it, but grabs nothing. An ILLUSION.</p><p>ANGIE (CONT’D)<br/>A fairy? Think I look like a fairy<br/>princess?</p><p>Artie nods, smiling wide.</p><p>ANGIE (CONT’D)<br/>Can you say fairy?</p><p>Another twist of his fingers. A three-dimensional balloon letter “F” appears.</p><p>ANGIE (CONT’D)<br/>Yes! “F”! Next is... “A”...</p><p>Artie’s fingers bounce as more letters appear. Angie smiles.</p><p>
  <br/>
  <span class="u">EXT. UNIVERSITY OF CHICAGO - CHICAGO, IL -- DAY</span>
</p><p>Scott and Jean walk through the main quad.</p><p>
  <strong>CHYRON: CHICAGO, ILLINOIS</strong>
</p><p>
  <br/>
  <span class="u">INT. LAB/CUMMINGS LIFE SCIENCE CENTER - CHICAGO, IL -- DAY</span>
</p><p>A MALE RESEARCH ASSISTANT, 19, sits playing a tablet video game. Nearby, a FEMALE RESEARCH ASSISTANT, 18, slurps RAMEN and looks at a DNA MODEL on the LAB COMPUTER.</p><p>Sitting at that computer is HENRY “HANK” MCCOY, 26, white, built like a gorilla and wearing a lab coat, glasses and sandals for his MASSIVE FEET. He finishes off a BURGER.</p><p>HANK<br/><em>(slight British accent)</em><br/>It’s a good model, but it’s all<br/>right angles and equal signs. Too<br/>finite. There’s no poetry to it.</p><p>MALE RA<br/>Who wants poetry? It’s a DNA model.</p><p>Scott and Jean enter from the other side of the lab.</p><p>Hank turns to the Male RA. Playfully incensed.</p><p>HANK<br/>Who wants poetry? <em>Who wants<br/>poetry!?</em> “Poets and painters, you<br/>will say, have ever had equal<br/>authority for attempting any thing.<br/>We are conscious of this, and this<br/>privilege we <em>demand</em> and allow in<br/>turn but not to such a degree, that<br/>the tame should associate with the<br/>savage; nor that serpents should be<br/>coupled with birds, lambs with<br/>tigers.”</p><p>FEMALE RA<br/>...Horace again?</p><p>MALE RA<br/>It’s always <em>somebody</em>. Hank please,<br/>it just needs to be stable.</p><p>HANK<br/>DNA only works, if it doesn’t work.<br/>The potential for error must be<br/>baked in, or else you’re missing<br/>the point entirely.</p><p>FEMALE RA<br/>You’re talking about mutation.</p><p>HANK<br/>“Once is a mistake. Twice is jazz.”</p><p>MALE RA<br/>Jazz is the <em>goal</em> now?</p><p>FEMALE RA<br/>Expect no less from the Thoreau of<br/>microbiology.</p><p>HANK<br/>I’d prefer the Dylan of Mendelian<br/>molecular epigenetics.</p><p>FEMALE RA<br/>...Dylan Thomas?</p><p>HANK<br/>Thomas? No. Dylan. <em>Dylan</em>! Bob! “The<br/>answer my friend is blowin’ in--”<br/><em>(beat)</em><br/>What’re they teaching nowadays?</p><p>Hank turns and catches Scott and Jean watching him carry on.</p><p>HANK (CONT’D)<br/>Oh my stars and garters... Scott<br/>Summers and the lovely Jean Grey.<br/>Out of the past.</p><p>JEAN<br/>It’s great to see you, Hank.</p><p>They all hug.</p><p>SCOTT<br/>Care to grab a bite?</p><p>Hank grabs the last of the burger. Pops it in his mouth.</p><p>HANK<br/><em>(through chews)</em><br/>I can always eat.</p><p>
  <br/>
  <span class="u">EXT. MAIN QUAD/UNIVERSITY OF CHICAGO - CHICAGO, IL -- DAY</span>
</p><p>Scott, Jean and Hank sit on the lawn, eating lunch.</p><p>HANK<br/>Yeah, I’ve already registered. I’m<br/>on a student visa, felt there was<br/>more risk in not doing it. Although<br/>Illinois has yet to implement any<br/>of the MRA restrictions.</p><p>JEAN<br/>But what’s going to happen once the<br/>school finds out?</p><p>HANK<br/>Oh, they already know.</p><p>SCOTT<br/>...You told them?</p><p>HANK<br/>I haven’t filed any paperwork but,<br/>my advisors, faculty, my<br/>students... Alerted them all. The<br/>two wunderkinds back in the lab.</p><p>JEAN<br/>And what? Just... No one cares?</p><p>HANK<br/>They’re actually perversely<br/>entertained by it all. There is<br/>much talk of the narrative that<br/>will arise once I publish and very<br/>little discussion about what that<br/>could mean for my personal safety.<br/>But it’s something I must see<br/>through. So I can only offer my<br/>support in spirit. For now.</p><p>JEAN<br/>That’s a hard path, Hank. Just as<br/>brave as anything.</p><p>HANK<br/>It’s a bit of a cul-de-sac,<br/>academia. But it’s mine.<br/><em>(gesturing to Scott’s food)</em><br/>Gonna finish that?</p><p>Scott offers up the plate. Hank indulges.</p><p>
  <br/>
  <span class="u">EXT. MOSCONE CENTER - SAN FRANCISCO, CA -- DAY</span>
</p><p>The sun dips behind the all-glass building.</p><p>
  <br/>
  <span class="u">INT. EXPO HALL/MOSCONE CENTER -- DAY</span>
</p><p>BANNERS around the hall identify the TECHNOLOGY IN LAW ENFORCEMENT CONVENTION.</p><p>An IMAX SCREEN shows a SERIES OF GRAPHS and an app logo that reads “WIDEAWAKE.” Shuffling in front of it is BOLIVAR TRASK, 30s, unkempt hair and a hoodie, talking a mile a minute.</p><p>
  <strong>CHYRON: SAN FRANCISCO, CALIFORNIA</strong>
</p><p>TRASK<br/>...And I’m telling you, the data<br/>we’re getting from the MRA is game-<br/>changing.With it, and our patent-<br/>pending algorithm, we’ve built real-<br/>time predictive models of the<br/>national mutant population, down to<br/>the voting district. Soon law-<br/>enforcement will be able to know,<br/>with above 96% accuracy, how many<br/>mutants live on their beat, where<br/>they congregate, and how powerful<br/>they are. And once we can legally<br/>study the mutants themselves...</p><p>SENATOR KELLY stands offstage as a SOUND GUY mics him. He listens intently. GYRICH rushes up to him.</p><p>GYRICH<br/>Great news. Just got confirmation<br/>from the police unions that they’re<br/>gonna back you in the primary. Nice<br/>little win going into the debate.</p><p>SEN. KELLY<br/>Told you this detour would pay off.</p><p>GYRICH<br/>The debate is still the priority.<br/>Endorsement won’t mean dick if you<br/>drop the ball.<br/><em>(beat)</em><br/>Speaking of endorsements, Stryker<br/>is pushing to come out publicly in<br/>your corner ASAP. And personally--</p><p>SEN. KELLY<br/>Probably trying to throw my name<br/>around to help clean up his mess.</p><p>GYRICH<br/>A nod from him before the debate<br/>would really set you apart.</p><p>SEN. KELLY<br/>Not a chance worth taking. I mean<br/>that.</p><p>Trask takes a bow on stage. APPLAUSE follows him off.</p><p>TRASK<br/><em>(to crowd)</em><br/>Thank you San Francisco!</p><p>SEN. KELLY<br/><em>(to Gyrich)</em><br/>Who is this kid?</p><p>GYRICH<br/>Trask? Just another Ivy League<br/>dropout with a handful of apps and<br/>a multi-million dollar evaluation.<br/>Town’s crawling with ‘em.</p><p>SEN. KELLY<br/>Yeah, but he’s the only one of them<br/>at this conference. I wanna meet<br/>him. Set something up.</p><p>A VOLUNTEER approaches.</p><p>VOLUNTEER<br/>Senator, we’re ready for you.</p><p>Kelly nods, following the volunteer.</p><p>GYRICH<br/>Not until after the debate!</p><p>ANNOUNCER (O.S.)<br/>And now the Technology for Law<br/>Enforcement Conference is proud to<br/>announce our keynote for the<br/>evening and leading candidate for<br/>President of the United States:<br/>Senator Robert Kelly!</p><p>Kelly walks out to an ENTHUSIASTIC RECEPTION.</p><p>
  <br/>
  <span class="u">EXT. DESERT - TABALOAPA, MEXICO -- NIGHT</span>
</p><p>The sun is low, but not gone. LOGAN and KURT look down from a hill at the FENCING that stretches across the U.S. border.</p><p>
  <strong>CHYRON: TABALOAPA, MEXICO</strong>
</p><p>LOGAN<br/>No guards. Just the fence. So...<br/>You say we just... Go.</p><p>KURT<br/>Yes. Go.</p><p>LOGAN<br/>And you’re gonna... Just do your<br/>thing?</p><p>KURT<br/>Ja. Yes.</p><p>LOGAN<br/>On the bike?</p><p>KURT<br/>What is the waiting for? Are you<br/>scared?<br/><em>(off Logan’s stare)</em><br/>Are you?</p><p>Logan walks back to the motorcycle, climbing on.</p><p>
  <br/>
  <span class="u">EXT. DESERT -- MOMENTS LATER</span>
</p><p>Kurt fits the HELMET on his head, sitting behind Logan on the motorcycle. Logan REVS the bike, starts down the hill.</p><p>KURT<br/>Turn off the light.</p><p>Logan kills the HEADLIGHT. The motorcycle picks up speed. Just a few yards of dirt between the bike and fence.</p><p>LOGAN<br/>Any time, elf.</p><p>FASTER now.</p><p>LOGAN (CONT’D)<br/>Hey--</p><p>BAMF. They disappear in a flash. The desert is silent.</p><p>BAMF. Logan and Kurt reappear a few feet off the ground, still on the bike, still at the same speed. The tires HIT DIRT. Logan WOBBLES, struggling on the new terrain. He loses it.</p><p>The bike SPINS out from under them, toppling then tumbling into the dirt. Logan hits the ground ROLLING. Kurt lands gracefully on his feet. They all come to a stop.</p><p>Beat. Logan looks back at the fence, at Mexico, behind him in the distance. He looks to Kurt, who smiles back. They LAUGH.</p><p>LOGAN (CONT’D)<br/>Smells like rotten eggs whenever<br/>you do that.<br/><em>(beat)</em><br/>I hate it. </p><p>
  <br/>
  <span class="u">EXT. NYPD 30TH PRECINCT - NEW YORK, NY -- DAY </span>
</p><p>Ismael walks into the lot where a TRANSPORT VAN has just finished loading prisoners. He waves at the OFFICERS inside.</p><p>ISMAEL<br/>Hey! Hey, slow up!</p><p>TRANSPORT OFFICER<br/>What’s up Ortega?</p><p>ISMAEL<br/>These the mutants?</p><p>TRANSPORT OFFICER<br/>Yep. Still don’t know where they’re<br/>goin’, but they’re gettin’ the hell<br/>out of here.</p><p>ISMAEL<br/>Word just came down, I need one of<br/>‘em. Witness on a case.</p><p>TRANSPORT OFFICER<br/>Even with the MRA and everything?</p><p>ISMAEL<br/>...Word came down.</p><p>Beat. The Transport Officer sighs, gets out and opens the van. CALIBAN sits among them, handcuffed. He’s freshly bruised.</p><p>TRANSPORT OFFICER<br/><em>(sung)</em><br/><em>How much is that doggie in the<br/>window?<br/>(then; spoken)</em><br/>Pick your pup.</p><p>ISMAEL<br/><em>(gesturing to Caliban)</em><br/>Him.</p><p>TRANSPORT OFFICER<br/>Chalky the purebred. You know how<br/>they make those right?<br/><em>(whispering)</em><br/>Inbreeding.<br/><em>(to Caliban)</em><br/>Come on, Chalky.</p><p>Caliban climbs out. The Transport Officer gets back in.</p><p>ISMAEL<br/>Thanks.</p><p>TRANSPORT OFFICER<br/>Gives you any trouble, rub it’s<br/>nose in it’s own shit.</p><p>The van pulls off. Ismael walks Caliban over to a patrol car. He pushes him in the back, then gets in the driver seat.</p><p>
  <span class="u">I/E. PATROL CAR/NYPD 30TH PRECINCT -- CONTINUOUS</span>
</p><p>Ismael turns to face Caliban.</p><p>ISMAEL<br/>Gimme your hands.</p><p>Caliban holds his hands out. Ismael unlocks the cuffs, surprising Caliban. Ismael holds out a BURNER CELL PHONE.</p><p>ISMAEL (CONT’D)<br/>You know what a CI is? Criminal<br/>informant?<br/><em>(off Caliban’s silence)</em><br/>You wanna get out of here?</p><p>Caliban takes the phone.</p><p>ISMAEL (CONT’D)<br/>That’s what you are now. My CI. I<br/>can’t actually register you, but...<br/>I’ll take care of you if you help<br/>me. OK?</p><p>CALIBAN<br/>OK.</p><p>ISMAEL<br/>Now you can detect mutants, right?<br/>Smell or... Whatever. You could<br/>tell about my daughter.<br/><em>(beat)</em><br/>Can you track mutants?</p><p>CALIBAN<br/>Yes.</p><p>ISMAEL<br/>Alright. You’re gonna find someone<br/>for me.</p><p>Caliban nods, then winces at the pain. Ismael softens.</p><p>ISMAEL (CONT’D)<br/>I can’t take you to a doctor. You<br/>know that.<br/><em>(beat)</em><br/>But I can get you some painkillers,<br/>clean you up a bit...<br/><em>(beat)</em><br/>They had no right. You hungry?</p><p>CALIBAN<br/><em>(nodding)</em><br/>Thank you.</p><p>Ismael starts the patrol car. He backs out of the space.</p><p>
  <br/>
  <span class="u">INT. THE CRADLE/KRAKOA -- DAY</span>
</p><p>Vapor leads Rogue, Toad and Chrome through a DARK TUNNEL, down a steep path made of ROOTS.</p><p>Rogue and Toad have traded their jumpsuits for HAND-ME-DOWNS. Rogue is nearly covered head to toe, despite the climate.</p><p>VAPOR<br/>Watch your step.</p><p>The tunnel opens up to a LARGE HOLLOW. Rogue and Toad look up at the walls of wet bark. They’re RESPIRATING. Chrome smirks at their amazement.</p><p>TOAD<br/>Oh shit.</p><p>VAPOR<br/>This way.</p><p>Vapor waves them over to a corner of the hollow.</p><p>VAPOR (CONT’D)<br/>When I said Krakoa was a mutant<br/>island, I meant that the island <em>is<br/></em>a mutant.</p><p>Rogue and Toad walk to the corner. Half-submerged in the ground is a warped and distended HUMAN BODY, the color of the bark. Something resembling a ribcage juts from the ground, RISING AND FALLING.</p><p>VAPOR (CONT’D)<br/>We don’t know how long they’ve been<br/>around for, but we know they’re<br/>alive. Exodus found them. He says<br/>they talk to him.<br/><em>(beat)</em><br/>We’ve been using Krakoa as a base<br/>for years now. Something about them<br/>disrupts prying eyes: outside<br/>telecommunications, radar...<br/>They’re not on any maps.</p><p>CHROME<br/>And their fruit is delicious.</p><p>VAPOR<br/>We’re just grateful, so we try to<br/>treat them like family. They’ve<br/>given us shelter, safety, a home.<br/>Something so many of us have been<br/>missing ever since we manifested.<br/>I’m sure you can relate.</p><p>Toad nods solemnly. Vapor kneels and caresses the rib cage.</p><p>VAPOR (CONT’D)<br/>Would you like to see more?</p><p>ROGUE<br/>Yes, yes... Please.</p><p>
  <br/>
  <span class="u">EXT. THE GROVE/KRAKOA -- LATER</span>
</p><p>About A HUNDRED MUTANTS are gathered on the METAL PLATFORM suspended among a circle of trees. Toad and Chrome lag behind Rogue, who follows Vapor towards the front of the crowd.</p><p>MAGNETO stands on a riser at one end of the platform, flanked by EXODUS, AVALANCHE, THUNDERBIRD, Blob, Pyro, Vertigo and SAURON, an anthropomorphic pterodactyl. Vapor joins them.</p><p>MAGNETO<br/>We have learned of a camp outside<br/>of Quezon City, siphoning mutants<br/>from around the world. I know many<br/>of you believe you have relatives--<br/><em>children</em>-- being held there. So<br/>tomorrow, two of our Acolytes,<br/>Vapor and Pyro, will raid the camp<br/>with a team of volunteers to free<br/>as many mutants as we can.<br/><em>(beat)</em><br/>But I must say... As much as I<br/>enjoy liberating our brothers and<br/>sisters, reuniting families, I can<br/>not help but think that these camps<br/>are only a symptom of what ails us.<br/>And we must not take our eyes off a<br/>cure.<br/><em>(beat)</em><br/>The camps are not what turned<br/>parent against child, upon<br/>manifestation. Are they?</p><p>CROWD<br/><em>(softly)</em><br/>No.</p><p>Rogue looks around, sensing the growing excitement.</p><p>MAGNETO<br/>Did the camps turn your friends,<br/>neighbors, your country against<br/>you?</p><p>CROWD<br/>No.</p><p>MAGNETO<br/>The camps did not make you hate the<br/>color, or texture of your own skin.<br/>Or scales. Your wings. The engine<br/>of power churning inside you.</p><p>CROWD<br/>No!</p><p>ROGUE<br/>No!</p><p>Toad glances at Rogue. He doesn’t join the chants.</p><p>MAGNETO<br/>The camps did not tell you that<br/>your birth was a mistake. That<br/>there was something wrong with you.<br/>When in reality, there is nothing<br/>wrong with you. You are natural<br/>perfection.</p><p>ROGUE<br/>That’s right!</p><p>MAGNETO<br/>No. There is something wrong with<br/>humanity.<br/><em>(beat)</em><br/>And I do not believe that humanity<br/>is uncaring, or even unintelligent.<br/>But I do believe they are asleep.<br/>We must keep our focus on waking<br/>them to the horror of their ways.</p><p>The crowd CHEERS, a raucous sound. Toad tentatively applauds. Rogue, however, is beaming.</p><p>
  <br/>
  <span class="u">I/E. PATROL CAR/BRIGHTON BEACH STREET -- DAY</span>
</p><p>Ismael drives while Caliban rides in back, eating from a BAG OF CHIPS and sipping a SODA. His cheek is BANDAGED.</p><p>CALIBAN<br/>Your daughter, the mutant. What is<br/>her name?</p><p>Beat.</p><p>ISMAEL<br/>Angel. We call her Angie.</p><p>CALIBAN<br/>You and your wife?</p><p>ISMAEL<br/><em>I</em> call her Angie... She’s actually<br/>not my biological daughter. I<br/>adopted her when her Mom and I got<br/>married. That didn’t really work<br/>out, so I have her now.<br/><em>(beat)</em><br/>Her mom’s in treatment.</p><p>CALIBAN<br/>Caliban is sorry to hear that.</p><p>ISMAEL<br/>So I’m just driving here?</p><p>CALIBAN<br/>He’s close. Metal skin... Just keep<br/>going.</p><p>ISMAEL<br/>So... “Caliban?” What is that,<br/>Greek? How’d you pick that up?</p><p>CALIBAN<br/>The name Caliban is English. It is<br/>the name of a theatre character.</p><p>ISMAEL<br/>Oh yeah? Who is he?</p><p>CALIBAN<br/>He is the monster.<br/><em>(looking out window)</em><br/>There. That is him.</p><p>Caliban points to a large man standing in an alley.</p><p>ISMAEL<br/>Stay in the car. And stay down.</p><p>Ismael stops the car and hops out. Slamming the door.</p><p>
  <br/>
  <span class="u">EXT. ALLEY/BRIGHTON BEACH STREETS -- CONTINUOUS</span>
</p><p>Ismael jogs to the alley, and unholsters his gun.</p><p>ISMAEL<br/>Police! Let me see your hands!<br/>Hands! And on your knees!</p><p>Peter turns, shocked. He lifts his hands, kneels down.</p><p>PETER<br/><em>(thick Russian accent)</em><br/>I’m sorry. I’m sorry.</p><p>ISMAEL<br/>You have I.D.?<br/><em>(off Peter’s nod)</em><br/>Throw it on the ground. Slowly.</p><p>Peter slowly pulls out a wallet and drops it on the ground. Ismael picks it up, never taking his gun off Peter.</p><p>PETER<br/>Please. You must help me. They’re<br/>trying to kill me. I need help.</p><p>Ismael looks at Peter’s driver’s license.</p><p>ISMAEL<br/>I’m gonna ask you a question...<br/>Peter. You need to answer honestly.<br/>Lying to me will be much worse, I<br/>promise you... Are you a mutant?<br/><em>(off Peter’s silence)</em><br/>Mr. Rasputin. Are you a mutant?</p><p>PETER<br/>...Yes.</p><p>ISMAEL<br/>What can you do? Tell me-- <em>Don’t<br/></em>show me.</p><p>PETER<br/>My skin... I grow and skin<br/>becomes... Metal. Please, I will<br/>come with police. I need<br/>protection. For me and--</p><p>ISMAEL<br/>Who’s tying to kill you?</p><p>PETER<br/>The Russians.</p><p>ISMAEL<br/>Aren’t you with the Russians?</p><p>PETER<br/>There was meeting with the Italian,<br/>Unus, over weapons. He killed us<br/>all and took our guns. Because I<br/>survive, the boss thinks I was<br/>working for Unus.</p><p>ISMAEL<br/>Your own people didn’t know you<br/>were a mutant.</p><p>PETER<br/>They want to kill me.</p><p>ISMAEL<br/>So does Unus.</p><p>Peter looks up, realizing why Ismael is here.</p><p>PETER<br/>No, please, Illyana! My sister--<br/>There are men waiting for me. At my<br/>apartment. I saw one, in her room.<br/>They will hurt her if... Please. My<br/>sister, she is sick. I am all she<br/>has in this world. I can’t--</p><p>Beat. Ismael holsters his gun. Pulls out his handcuffs.</p><p>ISMAEL<br/>Get up.</p><p>
  <span class="u">I/E. PATROL CAR/BRIGHTON BEACH STREET -- MOMENTS LATER</span>
</p><p>Ismael leads a handcuffed Peter into the back of the patrol car. He barely squeezes in, pushing Caliban to the side.</p><p>CALIBAN<br/>He’s big.</p><p>ISMAEL<br/><em>(to Caliban)</em><br/>I need something else from you.</p><p>
  <br/>
  <span class="u">EXT. RIVERSIDE PARK -- DAY</span>
</p><p>A handcuffed Caliban leads Peter, also handcuffed, and Ismael into a remote corner of the park. He points to a man-sized RABBIT HOLE where the dirt meets a stone structure.</p><p>CALIBAN<br/>Here.</p><p>Ismael undoes their cuffs.</p><p>ISMAEL<br/><em>(to Peter)</em><br/>This is just until I figure out<br/>what to do next. I’ll be back.</p><p>Caliban slips effortlessly down into the hole. Peter glances nervously from the hole to Ismael and back.</p><p>ISMAEL (CONT’D)<br/>Just follow Caliban.</p><p>CALIBAN<br/>Nothing to fear.</p><p>Peter lowers himself down, turning to fit his large frame.</p><p>
  <span class="u"><br/>INT. FREEDOM TUNNEL -- CONTINUOUS</span>
</p><p>Peter drops into the abandoned train tunnel. LARGE SHAFTS of light from the grates above illuminate a path.</p><p>CALIBAN<br/>This way. To the Morlocks.</p><p>Caliban leads Peter through. They disappear into the dark.</p><p>
  <br/>
  <span class="u">EXT. DESERT - PRESIDIO COUNTY, TEXAS -- NIGHT</span>
</p><p>Logan and Kurt sleep in the dirt. Kurt shivers against the cold while Logan tosses and turns, GROWLING intermittently.</p><p>Kurt opens an eye, to check on him. Sweat covers Logan’s brow. Then Logan SCREAMS. Kurt sits up, crawls over to him.</p><p>KURT<br/>Logan... They will hear us...</p><p>Logan’s CLAWS EXTEND. Kurt steps back.</p><p>Logan squirms, restless. Kurt sits, keeps his distance.</p><p>LOGAN<br/><em>(whispering)</em><br/>I’m sorry... I’m sorry...</p><p>More growling. Another scream. Kurt keeps watch.</p><p>
  <br/>
  <span class="u">EXT. SUBLIME SOLUTIONS - NAVOTAS, PHILIPPINES -- NIGHT</span>
</p><p>There’s a SIGN out front. A PORTAL opens above the BUILDING. Vapor, Rogue, Toad, Chrome and Pyro emerge on to the roof. Pyro wears a FLAMETHROWER TANK on his back with two hoses extending to TRIGGERED NOZZLES on his wrists.</p><p>
  <strong>CHYRON: NAVATOS, PHILIPPINES</strong>
</p><p>Vapor holds her hands out. Pyro and Chrome grab on, extend their hands to Toad and Rogue.</p><p>VAPOR<br/>Take their hands. Relax. And<br/>follow.</p><p>Rogue and Toad tentatively grab hold. Vapor becomes HAZY, then DEMATERIALIZES, her body turning to mist.</p><p>PYRO<br/>Always tickles...</p><p>Pyro and Chrome wince as they turn as well. Rogue looks on with dread as she and Toad dematerialize. The CLOUD that is the five of them flies across the roof and into an AIR DUCT.</p><p>
  <br/>
  <span class="u">INT. VENTILATION SYSTEM/SUBLIME SOLUTIONS -- CONTINUOUS</span>
</p><p>The Cloud moves through the ducts, stopping at the vents to watch the SECURITY GUARDS in the hallways and peek in rooms. Most rooms are empty. Just cubicles and conference tables.</p><p>
  <span class="u">INT. COMPUTER LAB/SUBLIME SOLUTIONS -- CONTINUOUS</span>
</p><p>The Cloud filters out of a vent and they re-materialize. Toad and Rogue immediately fall to their knees, disoriented. Taking big heaving gasps. Vapor rushes to the computer.</p><p>VAPOR<br/>Thought this was a camp, this just<br/>looks like an office building.<br/><em>(beat)</em><br/>Shit. I don’t know computers.</p><p>PYRO (O.S.)<br/>Hey, love.</p><p>Vapor turns around to see Pyro looking through a FOLDER OF DOCUMENTS. Pyro holds up PHOTOS of mutants with abnormal physiology-- beaks, tails-- on a surgical table.</p><p>PYRO (CONT’D)<br/>Think we’re looking for medical.</p><p>Vapor holds her arms out again, Chrome and Pyro grab hold.</p><p>TOAD<br/>Again? Already...</p><p>Pyro puts a hand on Toad’s shoulder and Chrome grabs Rogue. They dematerialize again and zip back in the air duct.</p><p>
  <br/>
  <span class="u">INT. VENTILATION SYSTEM/SUBLIME SOLUTIONS -- CONTINUOUS</span>
</p><p>The Cloud shoots down the system, and then around, before...</p><p>
  <br/>
  <span class="u">INT. SURGICAL LAB/SUBLIME SOLUTIONS -- CONTINUOUS</span>
</p><p>Vapor, Rogue, Chrome, Toad and Pyro re-materialize in an operating suite. The room is pristine, clean WHITE TABLE, instruments arranged. A large MEDICAL COOLER on wheels is in the corner. Rogue walks over to it.</p><p>VAPOR<br/>Notice anything?</p><p>CHROME<br/>Nothing yet...</p><p>They search the room. Chrome inspects a HEAVY SEALED DOOR. Toad looks at a SMALL BOX with a WHITE SHEET over it.</p><p>Rogue CLICKS the locks on the cooler. She opens it. Inside are a child’s SEVERED ARMS on ice. Rogue stumbles back.</p><p>Pyro, Chrome and Vapor rush over and see the arms.</p><p>TOAD (O.S.)<br/>Arms?</p><p>They turn to Toad who holds a white sheet, next to a CAGE with a Japanese girl, ASHIDA NORIKO, 11, inside. Her arms have been amputated just above the elbow, wrapped in gauze. Her entire body is VIBRATING at a high-frequency, HUMMING.</p><p>TOAD (CONT’D)<br/>I-I think they’re... Hers.</p><p>VAPOR<br/>It’s not a camp. It’s an organ<br/>farm. For us.<br/><em>(beat)</em><br/>Chrome?</p><p>Chrome kneels down at the cage, looks Noriko in the eye.</p><p>CHROME<br/>We’re gonna get you out, OK?</p><p>Chrome touches the cage. The bars TURN TO WATER, wetting Noriko’s head as they fall. She stands, vibrations slowing.</p><p>CHROME (CONT’D)<br/>You’re safe now.</p><p>Noriko aims her shoulder at the heavy door. Chrome walks over, places a hand on it.</p><p>VAPOR<br/>Careful.</p><p>Chrome nods. The door CRYSTALIZES, turning to glass. Visible on the other side are rows and rows of HOLDING PENS.</p><p>ROGUE<br/>Oh my God.</p><p>VAPOR<br/>Do it.</p><p>Chrome changes the glass to water and the door falls away.</p><p>An ALARM RINGS out. RED LIGHTS flash in the lab.</p><p>
  <span class="u"><br/>INT. HOLDING PENS/SUBLIME SOLUTIONS -- CONTINUOUS</span>
</p><p>Vapor leads Rogue, Toad, Pyro and Chrome in. Some of the PRISONERS wake, most have large visible SURGICAL SCARS and STITCHES. Chrome changes the locks to water as they pass.</p><p>VAPOR<br/>There’s too many. I can’t mist them<br/>all.</p><p>Pyro flips switches on his wrist nozzles. Readying himself.</p><p>PYRO<br/>Then we’re going out the front.</p><p>VAPOR<br/>Chrome open as many as you can.<br/>Guards will be here soon. Rogue,<br/>Toad, wake them up. Get them on<br/>their feet, ready to move.</p><p>Chrome works his way down then back up the other side. Rogue and Toad push them awake, frightening many of them.</p><p>Two Security Guards enter the lab, guns drawn.</p><p>SECURITY GUARD<br/>Hey!</p><p>One Guard OPENS FIRE. Chrome is STRUCK TWICE IN THE CHEST. He falls backwards right in front of Rogue.</p><p>ROGUE<br/>No!</p><p>Vapor DEMATERIALIZES. Her cloud flies over the guard's hand, EVAPORATING the gun it holds.</p><p>Pyro SHOOTS his twin flamethrowers, the two streams of flames cycle around each other, then take the form of a TIGER as they ENGULF THE GUARDS. The other Guard drops his gun as Vapor reconstitutes herself.</p><p>VAPOR<br/>Move!</p><p>ROGUE<br/>But Chrome...</p><p>VAPOR<br/>He’s gone, leave him.</p><p>Rogue hesitates, then removes a glove and touches Chrome’s cheek. Her VEINS GLOW faintly, as do Chrome’s.</p><p>She moves toward the pens and touches the few remaining locks, concentrating. They change to STONE, then ICE, then finally to WATER. The Prisoners exit. Vapor watches.</p><p>Rogue picks up Noriko and follows Pyro out of the lab. Vapor wrangles the twenty or so Prisoners. Toad notices the gun.</p><p>
  <br/>
  <span class="u">INT. HALLWAY/SUBLIME SOLUTIONS -- CONTINUOUS</span>
</p><p>Pyro enters the hallway. Rogue’s behind him, holding Noriko. He forms a FIREBALL in his palm, keeping it at the ready.</p><p>PYRO<br/>Don’t know the bloody way out of<br/>here...</p><p>He sees a Security Guard around the corner. He ducks back, holds a hand up. Rogue, Vapor, Toad and the Prisoners wait.</p><p>Pyro twirls his fingers and the fireball uncoils into a FIRESNAKE, slithering silently over to the Security Guard. The Guard’s pants catch fire and he burns alive, screaming.</p><p>PYRO (CONT’D)<br/>Let’s go.</p><p>Pyro leads them all past the Guard’s smoldering body.</p><p>
  <span class="u"><br/>EXT. SUBLIME SOLUTIONS -- MOMENTS LATER</span>
</p><p>Pyro, Rogue, Vapor, Toad and the freed Prisoners exit to see a GROUP OF POLICE CARS out front. OFFICERS stand behind their open car doors with their guns drawn.</p><p>POLICE BULLHORN<br/>Itaas ang kamay!</p><p>PYRO<br/>I’m assuming that’s, “Hands up.”</p><p>They all raise their hands. Pyro closes his eyes.</p><p>The front windows of the building EXPLODE and a FIREDRAGON FLIES out and into the sky.</p><p>The Officers open fire on the dragon, to no avail. The Firedragon BREATHES FIRE DOWN on all the cars. COOKING them.</p><p>VAPOR<br/>Exodus...</p><p>A PORTAL swirls into existence next to them. Exodus emerges.</p><p>Another Security Guard walks out of the building, behind all of them. Noriko, held to Rogue’s chest, sees him.</p><p>NORIKO<br/><em>(pointing)</em><br/>Abunai!</p><p>Rogue turns to see the Guard’s gun aimed at her. BANG.</p><p>The Security Guard falls, BLOOD SPURTS from his chest. Rogue turns to see Toad’s shaking hands wrapped around a gun.</p><p>VAPOR<br/>Come on!</p><p>They all rush into the portal. Pyro lags behind.</p><p>PYRO<br/>Burn, baby, burn...</p><p>The Firedragon flies up and then crashes down into the building. An INFERNO RAGES as Pyro walks through the portal.</p><p>
  <br/>
  <span class="u">INT. CONVENIENCE STORE - ODESSA, TEXAS -- DAY</span>
</p><p>Logan drops FIVE BEER BOTTLES on the counter, next to a pile of CHIP BAGS and SNACK CAKES. The CASHIER chuckles.</p><p>CASHIER<br/><em>(sarcastic)</em><br/>That it?</p><p>Logan gives him a look. Then walks to the back of the store and returns with a SIXTH BEER BOTTLE.</p><p>
  <br/>
  <span class="u">EXT. CONVENIENCE STORE -- MOMENTS LATER</span>
</p><p>Logan exits, arms full of his haul. He CHUGS one beer as he walks to the motorcycle.</p><p>
  <br/>
  <span class="u">EXT. ROUTE 20 - MOMENTS LATER</span>
</p><p>Logan rides into the desert. The BREEZE sends a chip bag sailing. He pulls off the highway and cuts across the brush.</p><p>Kurt raises his head from his bible. He uses the magazine page as a bookmark, stands as the motorcycle approaches.</p><p>Logan pulls over near him. He hands Kurt a beer and then drops the snacks on the ground.</p><p>LOGAN<br/>Cheers.</p><p>KURT<br/>Danke Logan.</p><p>Kurt tears open a bag. Logan chugs a beer, unscrews another.</p><p>KURT (CONT’D)<br/>You scared me last night.</p><p>Logan looks up, worried. Kurt doesn’t meet his gaze.</p><p>LOGAN<br/>Nightmares?</p><p>KURT<br/>Ja.</p><p>LOGAN<br/><em>(relaxing)</em><br/>Don’t worry about it. A lotta...<br/>Talkin’ loud and sayin’ nothin’.</p><p>KURT<br/>Yes, loud. Someone could hear.</p><p>LOGAN<br/>I don’t know what to tell you, elf.<br/><em>(beat)</em><br/>But don’t wake me up. <em>Ever</em>. If<br/>anyone does come callin’, and tries<br/>to... Won’t need to worry about<br/>them anymore.</p><p>Beat.</p><p>KURT<br/>You said “I’m sorry.” Over and<br/>over... Begging.</p><p>Logan stands, paces. Uncomfortable.</p><p>KURT (CONT’D)<br/>Who were you telling?</p><p>LOGAN<br/>Don’t know. Can’t remember. Maybe<br/>your Xavier guy can figure it out.<br/><em>(beat)</em><br/>Finish your beer.</p><p>KURT<br/>It’s very... Strong.</p><p>LOGAN<br/>Christ. I thought you were German.</p><p>Logan SNATCHES the beer from Kurt. He drinks it, walks away.</p><p>
  <br/>
  <span class="u">INT. MAIN OFFICE/P.S. 188 - NEW YORK, NY -- DAY</span>
</p><p>Ismael walks up to the SECRETARY (same as last episode).</p><p>SECRETARY<br/>How may I help you officer?</p><p>ISMAEL<br/>Yes, I spoke with someone who works<br/>here a few days ago. Regarding a<br/>case. But I didn’t get her name and<br/>I had some more questions. </p><p>SECRETARY<br/>OK. I can probably help you out.</p><p>ISMAEL<br/>Great. Uhh... A woman, probably mid-<br/>20s. Redhead, long hair--</p><p>SECRETARY<br/>Sounds like Ms. Grey. She’s one of<br/>our guidance counselors. But she<br/>actually hasn’t been in the last<br/>few days. We’re not sure what<br/>happened to her.</p><p>ISMAEL<br/>Could I get her contact<br/>information? I’ll try her myself.</p><p>SECRETARY<br/>...I’m sorry. I actually can’t give<br/>that out. But you can speak to--</p><p>ISMAEL<br/>...I mean, I’m police. I’m actually<br/>the parent of one her kids also--</p><p>SECRETARY<br/>Oh really? Who’s your kid? I know<br/>almost all of them.</p><p>Ismael tenses. He looks around, then leans in.</p><p>ISMAEL<br/>Um, Angie. Angie Salvadore.</p><p>SECRETARY<br/>Doesn’t ring a bell, but give me<br/>one second.</p><p>The Secretary types on her computer.</p><p>ISMAEL<br/>Oh no, that’s OK--</p><p>SECRETARY<br/>It’s no trouble...<br/><em>(glancing at Ismael)</em><br/>You sure you’re at the right<br/>school, officer?</p><p>ISMAEL<br/>I’m sorry.</p><p>The Secretary turns her MONITOR towards Ismael. The screen clearly reads “1 RESULT FOUND. ANGEL SALVADORE.”</p><p>SECRETARY<br/><em>(gesturing to the screen)</em><br/>See? No results. We don’t have an<br/>Angie Salvadore enrolled here. I<br/>know sometimes parents get the<br/>school numbers confused--</p><p>ISMAEL<br/>Wait, you’re telling me that-- That<br/>that screen says there’s <em>no</em> record<br/>of an Angel Salvadore?</p><p>SECRETARY<br/>I’m very sorry. Is there someone<br/>you can call to maybe double check<br/>with? A spouse or partner--</p><p>ISMAEL<br/>Know what? I’m OK. Have a nice day.</p><p>Ismael leaves as the Secretary turns the monitor back, shrugging to herself.</p><p>
  <br/>
  <span class="u">EXT. SHIRO YOSHIDA’S MANSION - ASHIYA, JAPAN -- DAY</span>
</p><p>A luxurious, sprawling traditional-style Japanese mansion.</p><p>
  <strong>CHYRON: ASHIYA, JAPAN</strong>
</p><p>
  <br/>
  <span class="u">EXT. GARDEN PATIO/SHIRO YOSHIDA'S HOUSE -- CONTINUOUS</span>
</p><p>A large SCROLL of SUNFIRE, a man made of flames covered with plates of black armor, wearing a mask with the CIRCLE OF THE SUN, hangs in the receiving room just inside from the patio.</p><p>The Professor shares a meal with YOSHIDA SHIRO, 28, an athletic Japanese man oozing with aristocratic entitlement, in the garden. A BUTLER stands nearby.</p><p>SHIRO<br/>I feel sorry for your country,<br/>Professor. I really do. But... It’s<br/>just not my problem. You Americans<br/>must get your own house in order.</p><p>PROF. XAVIER<br/>Shiro... As much as I appreciate<br/>your <em>nuanced</em> perspective, this is<br/>less a question of borders and more<br/>one of genetics. Mutants around the<br/>globe are being persecuted--</p><p>SHIRO<br/>Not me, not here. Here, I’m<br/>Sunfire...<br/><em>(gestures to the scroll)</em><br/>After your American bombs, our<br/>country had little choice but to<br/>come to terms with mutation. Since<br/>mine turns me to him instead of<br/>giving me an extra foot or<br/>cancer... I’m a national hero.</p><p>PROF. XAVIER<br/>And all mutants in your country<br/>feel the same?</p><p>SHIRO<br/>The military is accepting them with<br/>open arms.</p><p>PROF. XAVIER<br/>To be weapons.</p><p>SHIRO<br/>They’ll be well taken care of. All<br/>of you in the West are just<br/>catching up, be patient.<br/>(beat)<br/>Enough with this, I thought we were<br/>going to catch up. How’s your udon?</p><p>PROF. XAVIER<br/>All very appetizing. Thank you.</p><p>The Professor swirls his chopsticks, disinterested.</p><p>SHIRO<br/>So come on. Tell me... Who got fat?</p><p>
  <br/>
  <span class="u">EXT. GARDEN/SHIRO YOSHIDA’S HOUSE -- CONTINUOUS</span>
</p><p>Ororo and Forge walk through the garden together.</p><p>ORORO<br/>Scott’s still there?</p><p>FORGE<br/>He never left.</p><p>ORORO<br/>He was still a boy when I did. I<br/>guess I wasn’t much older, really.</p><p>FORGE<br/>Xavier is everything to him.<br/>Father, teacher, guru... Sun. Moon.<br/>He believes in him more than<br/>anyone. I don’t know if it’s<br/>healthy, but... It pushes him.</p><p>ORORO<br/>And what about you, old man? Still<br/>a believer?</p><p>FORGE<br/>Me? Sure. He’s the best man I’ve<br/>ever known. He saved my life. More<br/>ways than I can count.</p><p>ORORO<br/>I suppose all of us owe an<br/>unpayable debt to Charles. But I<br/>always knew that, however unpayable<br/>it was, time would come to collect.<br/><em>(beat)</em><br/>In the tribe that I stayed with<br/>children are taught from very early<br/>on that life comes with struggle.<br/>At age four their incisors are<br/>taken out with a knife, soon after<br/>their ears are pierced with hot<br/>irons. Then finally, in<br/>adolescence, both boys and girls<br/>are circumcised, their rite of<br/>passage into adulthood. And if they<br/>show their pain during the ritual,<br/>they bring great shame to their<br/>families. For Samburu children it<br/>is deeply understood that<br/>sacrificing yourself is what makes<br/>a strong people. And with that<br/>knowledge they become warriors and<br/>set out into the wilderness to<br/>protect the tribe.<br/><em>(beat)</em><br/>After I’d stayed there a year they<br/>asked me to perform the same<br/>ritual. And I was honored.</p><p>FORGE<br/>Don’t see any discs in your ears.</p><p>ORORO<br/>I told them that, as a mutant, I<br/>was born into the wilderness. Pain<br/>is not something I must be taught.<br/>It’s my only way forward.</p><p>FORGE<br/>Think someone forgot to tell Shiro<br/>that?</p><p>PROF. XAVIER (O.S.)<br/>Ororo. Forge.</p><p>They turn to see the Professor approaching, clearly upset.</p><p>PROF. XAVIER (CONT’D)<br/>We should be on our way. Shiro<br/>won’t be joining us.</p><p>ORORO<br/>Charles?</p><p>Beat.</p><p>PROF. XAVIER<br/>Calvin died. Three years ago. Shiro<br/>just informed me.</p><p>ORORO<br/>Calvin Rankin? The mimic?</p><p>FORGE<br/>What happened?</p><p>PROF. XAVIER<br/>Took his own life, it seems.<br/>Evidently, Shiro and he stayed in<br/>touch.<br/><em>(beat)</em><br/>I had planned for his family home<br/>to be our final stop. I couldn’t<br/>find him with Cerebro, now I know<br/>why.</p><p>Storm walks over and hugs the Professor. Forge follows, placing an awkward hand on the Professor’s back.</p><p>ORORO<br/>I’m so, so sorry, Charles.</p><p>A LIGHT RAIN begins to fall over the garden.</p><p>
  <br/>
  <span class="u">INT. KITCHEN/XAVIER MANOR - SALEM CENTER, NY -- DAY</span>
</p><p>A COFFET POT BUBBLES. BEEPS. Jean sits in a robe with her hair up in a towel. She sips from a mug, working on her laptop. HIP MUSIC plays from it.</p><p>Scott enters in pajama pants, shades and nothing else.</p><p>SCOTT<br/>Oh. Hey.</p><p>JEAN<br/>Mornin’ Slim.</p><p>SCOTT<br/>What’re you doing?</p><p>JEAN<br/>Trying to find Angie. Or her<br/>father, more specifically... We<br/>gave it a shot with Hank, so now--</p><p>Jean unwraps the towel, hand drying her hair. Scott stares. </p><p>JEAN (CONT’D)<br/>What?</p><p>SCOTT<br/>No. It’s just, uh... There aren’t<br/>usually girls here.</p><p>JEAN<br/>So what do you want me to do,<br/>Scott? Not be a girl.<br/><em>(beat)</em><br/>You gonna put a shirt on?</p><p>SCOTT<br/>Right.</p><p>Scott walks out. Jean smiles as he leaves, enjoying the view.</p><p>JEAN<br/>You could help me look, you know.</p><p>
  <span class="u"><br/>INT. CEREBRO/XAVIER MANOR -- DAY</span>
</p><p>Scott, now dressed, sits at the supercomputer’s console.  Jean stands behind him, dressed as well.</p><p>SCOTT<br/>Forge got us access to all local<br/>and federal law enforcement<br/>databases. Don’t ask how.</p><p>JEAN<br/>We should’ve done this days ago.</p><p>Scott types “ISMAEL ORTEGA” into the search. A photo of Ismael and his information comes up.</p><p>JEAN (CONT’D)<br/>This is him. Old address though.</p><p>SCOTT<br/>Works out of the 30th Precinct.<br/>Washington Heights.</p><p>JEAN<br/>...OK.</p><p>
  <br/>
  <span class="u">INT. NYPD 30TH PRECINCT - NEW YORK, NY -- DAY</span>
</p><p>Ismael walks through the precinct, CHARLOTTE passes him.</p><p>CHARLOTTE<br/>Iz! They just told me to find you,<br/>someone waiting for you out front.</p><p>Ismael stops, curious.</p><p>
  <br/>
  <span class="u">EXT. NYPD 30TH PRECINCT -- DAY</span>
</p><p>Jean and Scott wait outside the entry way. Ismael comes out, stopping when his eyes land on Jean.</p><p>ISMAEL<br/>You found me.</p><p>JEAN<br/>I found you.</p><p>ISMAEL<br/>Who’s the boyfriend?</p><p>SCOTT<br/>It’s Scott--</p><p>JEAN<br/><em>Not</em> my boyfriend. Another concerned<br/>party. For Angie.<br/><em>(beat)</em><br/>Is she safe? Are you both OK?</p><p>Ismael approaches Jean, looking around to be safe.</p><p>ISMAEL<br/><em>(whisper-shouting)</em><br/>You know I went back to the school.<br/>No one there even <em>remembers</em> Angie.<br/>Woman showed me a computer screen<br/>with Angie’s records on it, she<br/>couldn’t even read it. You did that<br/>to them, didn’t you?</p><p>JEAN<br/>I told you. You and Angie didn’t<br/>need to worry about them anymore.</p><p>ISMAEL<br/>People like you are the reason she<br/>can’t go to school anymore. We<br/><em>should </em>be afraid of you.</p><p>SCOTT<br/>OK, you need to back up.</p><p>JEAN<br/>No, Scott. It’s OK.</p><p>Jean places a hand on Scott’s chest, calming him.</p><p>JEAN (CONT’D)<br/>Look, I am sick over what I did. I-<br/>I feel dirty, and... The worst part<br/>isknowing that the people who<br/>trusted me can’t even remember<br/>enough to be mad at me about it.<br/>But I did it for your daughter. And<br/>if I can make sure she’s OK... Then<br/>I didn’t do it for nothing.<br/><em>(beat)</em><br/>Please. Let us help you.</p><p>Beat.</p><p>ISMAEL<br/>You wanna help?<br/><em>(beat)</em><br/>Come on.</p><p>Ismael walks toward the patrol cars.</p><p>
  <br/>
  <span class="u">INT. OPEN SEWER TUNNEL -- DAY</span>
</p><p>Scott, Jean and Ismael stand at the mouth of a tunnel, the patrol car and Xavier’s Rolls Royce behind them.</p><p>Caliban and Peter emerge from the black of the tunnel.</p><p>ISMAEL<br/>The big guy is Peter. He needs to<br/>disappear.</p><p>PETER<br/>My sister. Please.</p><p>ISMAEL<br/>Yeah, him and his sister. You got a<br/>safe place for mutants? Take them.</p><p>JEAN<br/>What about Angie?</p><p>ISMAEL<br/>She stays with me... We’re<br/>figuring it out.</p><p>JEAN<br/>Officer--</p><p>ISMAEL<br/>No discussion. But if you guys do<br/>right by Peter... Then I got<br/>something else to show you.</p><p>SCOTT<br/><em>(gesturing to Caliban)</em><br/>And who’s this?</p><p>CALIBAN<br/>Caliban?</p><p>ISMAEL<br/>He’s my CI. Don’t worry about him.</p><p>SCOTT<br/>He just walked out of the sewer.</p><p>JEAN<br/>Let it go.<br/><em>(to Peter)</em><br/>Come on Peter, let’s go get your<br/>sister.</p><p>Jean walks to Peter and places a hand on his shoulder. She leads him out of the tunnel. Scott opens the car door.</p><p>
  <br/>
  <span class="u">INT. RISMAN BARN - SUGAR LAND, TX -- DAY</span>
</p><p>A MAP of Japan is open on the table, PUSH PINS placed in certain spots. RISMAN stands over the table with the other PURIFIERS. STRYKER sits against the far wall, ANNE next to him.</p><p>
  <strong>CHYRON: SUGAR LAND, TEXAS</strong>
</p><p>RISMAN<br/>Two more sightings in Osaka nine<br/>months ago. Then a possible hit in<br/>New Zealand, another one in Brazil.</p><p>PURIFIER 1<br/>Been a ghost ever since.</p><p>RISMAN<br/>Can Kelly get you higher clearance?<br/>Pull from Interpol? Maybe there’s<br/>something they haven’t shared with<br/>the states yet.</p><p>REV. STRYKER<br/>I’m not goin’ to him with my hand<br/>out. We need to handle this.</p><p>RISMAN<br/>I’m runnin’ out of options, boss.</p><p>Another PURIFIER enters, loudly THROWING THE DOOR OPEN.</p><p>PURIFIER 2<br/>Hey! Y’all ain’t gonna believe<br/>this. Gimme...</p><p>He snatches a LAPTOP on the table, plugs in a THUMB DRIVE.</p><p>RISMAN<br/>We were kinda in the middle of<br/>somethin’...</p><p>PURIFIER 2<br/>Little convenience store outside<br/>Odessa gets robbed by a couple of<br/>methheads. No leads. So. Know-<br/>nothin’ Sheriff’s office uploads<br/>the <em>whole </em>day’s worth of security<br/>footage to area police. </p><p>Purifier 2 opens a video, fast forwards through it. He PAUSES on an image of Logan purchasing snacks at the counter.</p><p>PURIFIER 1<br/>Gotta be shittin’ me...</p><p>PURIFIER 2<br/>It’s him. Ain’t no gettin’ around<br/>it.</p><p>Stryker walks up to view the video.</p><p>RISMAN<br/>Odessa? That’s a night’s drive.</p><p>REV. STRYKER<br/>I wanna have a bead on them by<br/>nightfall, tomorrow.</p><p>
  <br/>
  <span class="u">EXT. PETER’S APARTMENT BUILDING - BROOKLYN, NEW YORK -- DAY</span>
</p><p>Scott and Jean sit in the Rolls Royce, watching the two Mobsters guarding the door. Peter sits in the back.</p><p>PETER<br/>Apartment 514.</p><p>SCOTT<br/><em>(to Peter)</em><br/>Stay here. We’ll be back with her.</p><p>Scott and Jean get out. Peter watches them walk past the guards.</p><p>
  <br/>
  <span class="u">INT. 5TH FLOOR HALLWAY/PETER’S APARTMENT BUILDING -- DAY</span>
</p><p>Scott and Jean walk up the stairs and approach the door. Jean puts her hand to the door, then turns to Scott, confused.</p><p>JEAN<br/>Unlocked?</p><p>She pushes it open. They enter.</p><p>
  <span class="u">INT. PETER'S APARTMENT -- CONTINUOUS</span>
</p><p>A SKINNY MOBSTER eats a SANDWICH sitting on a folding chair in the unfurnished space. He looks up at Scott and Jean.</p><p>SKINNY MOBSTER<br/>Who’re you?</p><p>Beat. The Skinny Mobster reaches down, grabs a MACHINE GUN.</p><p>Jean waves her hand and the Skinny Mobster FLIES UP, SLAMMING his head on the ceiling. He falls back down, out cold.</p><p>A TALL MOBSTER comes from the bathroom, FIRING a machine gun.</p><p>Jean SCREAMS as Scott pulls her down behind a counter. He NUDGES his shades down. A RED GLOW SHINES on his face.</p><p>
  <br/>
  <span class="u">EXT. PETER'S APARTMENT BUILDING -- CONTINUOUS </span>
</p><p>The two Mobsters look up at the building, hearing GUNFIRE.</p><p>MOBSTER 1<br/>You heard that?</p><p>A WINDOW above them SHATTERS as the Tall Mobster flies out of it, propelled by a CRACKLING BEAM OF BRIGHT RED ENERGY. He LANDS on the roof of a car across the street, body BURNT.</p><p>MOBSTER 2 takes off down the street.</p><p>MOBSTER 1 (CONT’D)<br/>Hey!</p><p>Peter watches MOBSTER 1 pull out his machine gun and run inside. Peter hesitates, then climbs out of the car.</p><p>
  <br/>
  <span class="u">INT. PETER'S APARTMENT -- CONTINUOUS</span>
</p><p>Scott’s eyes are shut tight. Jean helps him put his shades back on, as they get up. The far wall is gone, an OVULAR HOLE punched through it. The SKINNY MOBSTER is still on the floor.</p><p>SCOTT<br/>The girl.</p><p>JEAN<br/>Illyana!</p><p>Jean searches the apartment. She enters...</p><p>
  <span class="u"><br/>INT. ILLYANA’S BEDROOM/PETER’S APARTMENT -- CONTINUOUS </span>
</p><p>Jean finds ILLYANA, now 12, lying in bed asleep. She’s gaunt, malnourished.</p><p>JEAN<br/>I’ve got her.</p><p>Jean shakes her, tries to wake her. Illyana doesn’t budge.</p><p>JEAN (CONT’D)<br/>She’s-she’s not waking up.</p><p>
  <span class="u"><br/>INT. PETER’S APARTMENT -- CONTINUOUS</span>
</p><p>Scott stands in the center of the room, facing towards the rest of the apartments.</p><p>SCOTT<br/>Jean, I don’t like this. If someone<br/>else comes, I’m blasting into--</p><p>Mobster 1 walks in the doorway. Raises his gun. Scott dives toward the bathroom.</p><p>
  <span class="u"><br/>INT. ILLYANA'S BEDROOM/PETER'S APARTMENT -- CONTINUOUS</span>
</p><p>The THUNDER of GUNFIRE. Jean throws her body over Illyana.</p><p>Then a CRASH is heard. A CRY OF ANGUISH. Then quiet.</p><p>PETER (O.S.)<br/>Jean? Scott?</p><p>JEAN<br/>I have her, Peter!</p><p>Jean picks up Illyana and walks out.</p><p>
  <span class="u"><br/>INT. PETER’S APARTMENT -- CONTINUOUS</span>
</p><p>Scott crawls out from the bathroom, rises. Jean and Scott both look on, awed by Peter’s giant steel frame. Mobster 1 is in a jumbled heap next to him.</p><p>PETER<br/>(to Jean)<br/>Give her to me.</p><p>Jean hands Illyana to Peter. Peter DE-METALS, shrinking.</p><p>PETER (CONT’D)<br/>She’s OK. She’s been like this for<br/>years.</p><p>JEAN<br/>Peter... What’s wrong with her?</p><p>SCOTT<br/>Not now. We need to go.</p><p>
  <br/>
  <span class="u">INT. KELLY’S HOME - JEFFERSON HILLS, PA -- NIGHT </span>
</p><p>Kelly pours SHARON a GLASS OF WINE. She sits at their dining table behind an empty plate. Kelly, wearing a chef’s apron, shovels PASTA from a STEAMING PAN on to Sharon’s plate.</p><p>
  <strong>CHYRON: JEFFERSON HILLS, PENNSYLVANIA </strong>
</p><p>SEN. KELLY<br/>And the arrabiata...</p><p>SHARON<br/>Smells delicious.</p><p>Kelly puts the pan back and unties the apron. He pours himself a glass as he takes a seat next to Sharon.</p><p>SEN. KELLY<br/>I have been looking forward to this<br/>since they announced the debate was<br/>gonna be local.</p><p>SHARON<br/>Me too, honey.<br/><em>(raises her glass)</em><br/>To catching your breath.</p><p>Kelly CLINKS her glass with his own.</p><p>SEN. KELLY<br/>And tonight, I finally can. I told<br/>them I needed the night before off.<br/>Just to clear my head.</p><p>SHARON<br/>No shop talk. Sounds lovely.</p><p>SEN. KELLY<br/>We already ran the mock debate.<br/>Police unions are backing me.<br/>Louisiana is implementing-- </p><p>SHARON<br/>Honey... This is shop talk.</p><p>Beat.</p><p>SEN. KELLY<br/>You’re right. I’m sorry. Let’s enjoy.</p><p>They eat. Silently. A long beat.</p><p>SEN. KELLY (CONT’D)<br/>You know, Henry just keeps...<br/>Pushing for us to announce the<br/>Stryker endorsement. And we’re not<br/>ready. We’re just not ready.</p><p>SHARON<br/><em>(giving up)</em><br/>And why not?</p><p>SEN. KELLY<br/>I’m sorry?</p><p>SHARON<br/>Why aren’t you ready?</p><p>Beat.</p><p>SEN. KELLY<br/>He’s just an unknown element. Sure,<br/>he’ll fortify our support in the<br/>Midwest. Henry’s right about that<br/>but...<br/><em>(beat)</em><br/>He’s a dubious man, Sharon. I don’t<br/>like getting in bed with him.</p><p>SHARON<br/>Sounds like you already are.<br/><em>(beat)</em><br/>Henry knows what he’s doing, he<br/>wouldn’t recommend it if it wasn’t<br/>the right move. And maybe then you<br/>can get your mind off it.</p><p>Kelly grumbles.</p><p>SEN. KELLY<br/><em>(re: pasta)</em><br/>How is it?</p><p>SHARON<br/><em>(laughing)</em><br/>You’re out of practice.</p><p>
  <br/>
  <span class="u">INT. GUEST BEDROOM/XAVIER MANOR - SALEM CENTER, NY -- NIGHT </span>
</p><p>Scott enters the room. Jean sits with Peter, overlooking Illyana who’s tucked under the covers in bed.</p><p>SCOTT<br/>How is she?</p><p>JEAN<br/>Same. Nothing we can do now.<br/>Peter’s been feeding her liquids as<br/>often as he can, just to try and<br/>keep her healthy. Maybe the<br/>Professor will know more.</p><p>SCOTT<br/>We can still take her to the<br/>hospital.</p><p>PETER<br/>When we first came I took her to<br/>hospital. They found nothing wrong,<br/>then made us leave. I think they<br/>feared we were mutants. I took job<br/>as muscle to pay hospital bill.<br/><em>(beat)</em><br/>Mutants are not welcome in my<br/>country. My family thought America<br/>would be different.</p><p>SCOTT<br/>It’s different here, Peter. In this<br/>house, you’re welcome.</p><p>Peter nods.</p><p>
  <br/>
  <br/>
  <span class="u">EXT. THE GROVE/KRAKOA -- NIGHT</span>
</p><p>Rogue, Toad and Noriko walk with the freed Prisoners toward a waiting crowd. Noriko locks eyes with a Japanese woman, her MOTHER.</p><p>NORIKO<br/>Okaasan!</p><p>NORIKO'S MOTHER<br/>Noriko!</p><p>Noriko runs to her and she takes Noriko in her arms, both crying. Rogue wipes her own tears away.</p><p>TOAD<br/>Kinda beautiful.</p><p>ROGUE<br/>Yeah.</p><p>Beat.</p><p>TOAD<br/>Those guards probably had families<br/>too. Kids. Just goin’ to work, you<br/>know...</p><p>ROGUE<br/>Toad. You saved my life. We saved<br/>all these people’s lives.</p><p>TOAD<br/>You’re right. You’re right. I just,<br/>umm... I just gotta figure how I’m<br/>gonna carry it.</p><p>Rogue nods. Beat.</p><p>ROGUE<br/>Allen Yuric.</p><p>TOAD<br/>Huh?</p><p>ROGUE<br/>Chrome. That’s what his parents<br/>named him: Allen. He was from<br/>Chile, up in the mountains. He<br/>loved tennis and techno music. He<br/>had a crush on me. Yep. I reminded<br/>him of a girl he grew up with who<br/>never gave him the time of day.<br/>Don’t even think he realized that<br/>was why he liked me, but that was<br/>the reason. It was so clear when I<br/>touched him.<br/><em>(choking up)</em><br/>And you know what he was thinking<br/>right as he died? “I got no<br/>regrets. Not a single one.” He was<br/>eighteen, Toad. How many people go<br/>their whole lives and never know<br/>that feeling?</p><p>Toad nods, solemnly.</p><p>ROGUE (CONT’D)<br/>We’re making a difference here. A<br/>real difference. And he knew that.</p><p>
  <br/>
  <span class="u">EXT. VAPOR’S FAMILY HOME - BERKELEY, CA -- NIGHT</span>
</p><p>The sun is setting. The Professor, Forge and Ororo stand on the front porch of a suburban house on a quiet street. An elderly woman, MRS. VOGHT, 60s, answers the door.</p><p>MRS. VOGHT<br/>Hello.</p><p>PROF. XAVIER<br/>Hello, Lydia Voght?<br/><em>(off her nod)</em><br/>I’m Professor--</p><p>MRS. VOGHT<br/>You’re Charles Xavier. Yes,<br/>Amelia’s told me all about you.<br/>I’ve seen pictures and everything.</p><p>PROF. XAVIER<br/><em>(smiling)</em><br/>Yes. Well, your daughter and I<br/>were... Quite close. I was hoping<br/>Amelia might actually be around.<br/>I’ve had some trouble getting in<br/>touch with her.</p><p>Mrs. Voght’s face drops.</p><p>MRS. VOGHT<br/>She didn’t tell you?</p><p>
  <br/>
  <span class="u">INT. HOUSE OF MAGNUS/KRAKOA -- NIGHT</span>
</p><p>Magneto sits on a bed, in an all-silver room, starkly furnished. Vapor enters.</p><p>VAPOR<br/>Everyone is gathered in the Grove,<br/>welcoming the people we freed...<br/>It’s beautiful. You should join us.</p><p>MAGNETO<br/>I’m not one for celebrations. You<br/>know that.</p><p>Beat.</p><p>VAPOR<br/>Chrome is dead. We should’ve had<br/>more help. All I had were kids--</p><p>MAGNETO<br/>They’re all kids.</p><p>VAPOR<br/>You’ve made some of them soldiers.</p><p>MAGNETO<br/>And you want me to what? Put them<br/>at risk for some-- Some half-dead<br/>guinea pigs? Useless mouths to<br/>feed? I’m trying to build an army!</p><p>VAPOR<br/>It’s a movement first! Always.<br/>People need more than speeches to<br/>keep them going. They need small<br/>victories. Results.</p><p>MAGNETO<br/>We need Destiny. Until she’s back<br/>with us, nothing else matters.<br/>She’s the key to everything.</p><p>Beat. Vapor walks closer.</p><p>VAPOR<br/>Erik... If they’d been picked up<br/>they’d have been at the Atlanta<br/>camp, like you hoped. Chances are<br/>her and Mystique are long gone. We<br/>have to find other ways to win.</p><p>Magneto hangs his head. He nods, acquiescing.</p><p>
  <span class="u"><br/>INT. LIVING ROOM/VAPOR’S FAMILY HOME -- NIGHT</span>
</p><p>Forge looks at a YOUNG VAPOR’S GRADUATION PHOTO on the wall. Mrs. Voght sits across from the Professor and Ororo.</p><p>MRS. VOGHT<br/>She was here, but she left with him<br/>about a year ago. Said he had an<br/>island that he could take her to.<br/>She’d just quit the hospital. Told<br/>me she was tired of pretending she<br/>wasn’t... Different. Pretending<br/>everything was going to be OK.<br/><em>(beat)</em><br/>I felt he was dangerous but... I<br/>can’t tell her how to live with her<br/>condition. I blame myself for it.<br/>She came out of <em>my</em> body that way. I<br/>never wanted that for her.</p><p>PROF. XAVIER<br/>It’s not your fault, Lydia.</p><p>ORORO<br/>It’s no one’s fault.</p><p>PROF. XAVIER<br/>Exactly.</p><p>MRS. VOGHT<br/>You knew him too, didn’t you? Erik?</p><p>PROF. XAVIER<br/>Yes. He and I, Forge here... And<br/>Amelia, were all... Trying to find<br/>a better path for mutants.<br/>Together. Over time, our<br/>differences grew to be too great.</p><p>MRS. VOGHT<br/>She loved you, you know.</p><p>PROF. XAVIER<br/>Yes. Yes, I do know. And I loved<br/>her just as much. If not more.</p><p>The Professor is fighting back his emotions. And losing.</p><p>MRS. VOGHT<br/>She thought the world of you, but<br/>she knew you didn’t need her. She<br/>told me... She selfishly missed the<br/>time you two spent together in the<br/>hospital, after your accident.<br/><em>(beat)</em><br/>But Erik still needed her, she<br/>said. Gave her purpose. Without<br/>her, his rage would destroy him.</p><p>
  <br/>
  <span class="u">INT. HOUSE OF MAGNUS/KRAKOA -- NIGHT</span>
</p><p>Vapor sits next to Magneto on the bed.</p><p>MAGNETO<br/>Why did you choose me? Over him?</p><p>VAPOR<br/>It wasn’t a choice, Erik. I... I<br/>firmly believe the world needs both<br/>of you. Mutants need Xavier, he’s<br/>something to aspire to. To show<br/>them they can be better than what<br/>the humans expect of them. But<br/>humanity needs you. You’re their<br/>karma. You show them what happens<br/>if they don’t listen to the Xaviers<br/>of the world. And we can’t overcome<br/>without both of you.</p><p>MAGNETO<br/>You want me to be him. But he’s not<br/>here for you, Amelia. I am.</p><p>VAPOR<br/><em>(smiling)</em><br/>You never call me Amelia anymore.</p><p>MAGNETO<br/>And I’ve asked you not to call me<br/>Erik. But you haven’t stopped.</p><p>He reaches out to brush her cheek. She turns away, stands.</p><p>VAPOR<br/>Come to the Grove, Magneto. Showing<br/>some compassion isn’t a bad thing,<br/>Charles was right about that.</p><p>She holds a hand out. Magneto takes it. She leads him out.</p><p>
  <br/>
  <span class="u">EXT. THE GROVE/KRAKOA -- NIGHT</span>
</p><p>Magneto and Vapor walk among the freed Prisoners, hugging children. Shaking hands.</p><p>PROF. XAVIER (V.O.)<br/>If you hear from Amelia, Mrs.<br/>Voght... Please do reach out to me.<br/>I would very much like to speak<br/>with her.</p><p>
  <br/>
  <span class="u">INT. LIVING ROOM/VAPOR’S FAMILY HOME -- NIGHT</span>
</p><p>Mrs. Voght smiles at the Professor.</p><p>MRS. VOGHT<br/>I will. I’m rooting for you,<br/>Charles. My daughter needs more<br/>people like you in her life.</p><p>
  <span class="u">EXT. MUTANT TOWN HIGH-RISES -- NIGHT</span>
</p><p>Ismael, in street clothes, waits on the corner. Unus’s car pulls in front of him. Unus rolls down the window. </p><p>UNUS<br/>So? Where is he?</p><p>ISMAEL<br/>Didn’t go down that way. He’s dead.</p><p>UNUS<br/>Dead? Jamook had metal skin--</p><p>ISMAEL<br/>He drowned. And all that metal<br/>ain’t floatin’ up.</p><p>Unus nods, smiles.</p><p>UNUS<br/>That’ll do, Sheriff. That’ll do.</p><p>The car pulls away. Ismael exhales.</p><p>
  <br/>
  <span class="u">INT. FINNERAN PAVILION/VILLANOVA UNIVERSITY - VILLANOVA, PA -- NIGHT</span>
</p><p>Kelly stands just off stage. The red, white and blue lights of the arena silhouette him.</p><p>MODERATOR (O.S.)<br/>Governor Paul McKenna.<br/><em>(hold for applause)</em><br/>Senator Robert Kelly.</p><p>Kelly walks out, waving and smiling at the FEW THOUSAND assembled. He steps behind a podium on the right of the two other candidates, the handsome PAUL MCKENNA, 50s, and the matronly SENATOR ASHTON ALLEN, 60s.</p><p>
  <strong>CHYRON: VILLANOVA, PENNSYLVANIA</strong>
</p><p>MODERATOR (O.S.)<br/>Candidates you will each have 90<br/>seconds to answer the question--</p><p>
  <br/>
  <span class="u">EXT. HIGHWAY 63 - WYACONDAH, IA -- NIGHT</span>
</p><p>A WHITE VAN waits in the middle of the desert, a couple hundred feet off the highway. Purifier 1, in cross-bearing body armor, SMOKES a cigarette outside of it. A CAMERA sits on top of the van. Aimed at a motorcycle in the distance.</p><p>
  <strong>CHYRON: WYACONDAH, IOWA</strong>
</p><p>
  <br/>
  <span class="u">INT. WHITE VAN -- CONTINUOUS</span>
</p><p>Risman sits behind a computer with multiple video screens. He slips on a headset, presses a button. A RADIO CRACKLES.</p><p>RISMAN<br/>This is him. Battle stations.<br/>(beat)<br/>“Yea, though I walk through the<br/>valley of the shadow of death...”</p><p>
  <span class="u">EXT. HIGHWAY 63 -- NIGHT</span>
</p><p>Purifier 1 climbs on top of the van. Picks up the SNIPER RIFLE resting on the roof.</p><p>PURIFIER 1<br/>“I will fear no evil, for...”</p><p>Laying in the dirt on the other side of the road is Purifier 2 with a rifle of his own. A Purifier spotter next to him.</p><p>PURIFIERS 2 &amp; 3<br/>“Thou art with me. Thy rod and thy<br/>staff...”</p><p>Down the road a fourth and fifth Purifier wait on a motorcycle, lights and engine off, in the same armor.</p><p>PURIFIERS 4 &amp; 5<br/>“They comfort me.”</p><p>Logan and Kurt approach on the bike. Carefree for the moment.</p><p>
  <span class="u"><br/>INT. FINNERAN PAVILION/VILLANOVA UNIVERSITY -- NIGHT</span>
</p><p>The MODERATOR, 40s, speaks to Kelly.</p><p>MODERATOR<br/>Senator Kelly, a rebuttal...</p><p>SEN. KELLY<br/>These acts of mutant terrorism are<br/>isolated incidents and they’ve<br/>greatly decreased in states that<br/>have fully implemented the MRA. The<br/>evidence for this so-called<br/>Brotherhood is all internet chatter<br/>and a few lone wolves. It doesn’t<br/>amount to a hill of beans.</p><p>SEN. ALLEN<br/>How can you expect there to be<br/>evidence when we’re dealing with a<br/>population that can do the<br/>unimaginable? Change data, distort<br/>memories--</p><p>SEN. KELLY<br/>All due respect senator, if you’re<br/>so concerned now, where were you<br/>when I was writing this bill?</p><p>The crowd APPLAUDS.</p><p>SEN. ALLEN<br/>My point still stands, senator---</p><p>
  <span class="u"><br/>INT. WHITE VAN -- NIGHT </span>
</p><p>Risman watches the motorcycle approach on screen. </p><p>RISMAN<br/>...Execute.</p><p>
  <br/>
  <span class="u">EXT. HIGHWAY 63 -- CONTINUOUS</span>
</p><p>From the dirt, Purifier 2 FIRES.</p><p>Logan’s front tire EXPLODES. The bike WOBBLES.</p><p>LOGAN<br/>Shit.</p><p>Logan stops the bike, then turns. Suspicious. SNIFFS the air.</p><p>LOGAN (CONT’D)<br/><em>(to Kurt)</em><br/>Get out of here.</p><p>The Purifiers on the motorcycle RIDE OUT, approaching.</p><p>Purifier 1, on the van, FIRES.</p><p>A METAL HARPOON, tethered to a LENGTH OF CORD, shoots through Logan’s shoulder from behind. He SCREAMS. Then ANOTHER tears through the bicep of his other arm.</p><p>LOGAN (CONT’D)<br/><em>Go</em>!</p><p>Kurt BAMFS away, as Logan unsheathes his CLAWS.</p><p>
  <br/>
  <span class="u">INT. WHITE VAN -- CONTINUOUS</span>
</p><p>Risman eyes the smoke cloud on screen with disbelief.</p><p>RISMAN<br/>What was that?</p><p>
  <br/>
  <span class="u">EXT. HIGHWAY 63 -- CONTINUOUS</span>
</p><p>Purifiers 1 and 2, both with rifles tethered to Logan, converge on him. Drawing their cords TAUGHT.</p><p>PURIFIER 1<br/>Don’t know. Someone with him, but<br/>they’re gone. Must be another<br/>mutie.<br/><em>(beat)</em><br/>We’ve got claws out, people.</p><p>RISMAN (O.S.)<br/>Let’s do this quick before there’s<br/>reinforcements.</p><p>The motorcycle pulls up and both Purifiers get off. Purifier 3 trains a rifle on Logan, the other pulls out a BOWIE KNIFE.</p><p>PURIFIER 4<br/>Off with his head, right? The only<br/>way...<br/><em>(beat)</em><br/>Hold ‘em steady... Steady!</p><p>Logan’s arms are pulled apart as Purifier 4 gets closer. He holds the knife to Logan’s neck.</p><p>
  <span class="u">INT. FINNERAN PAVILION/VILLANOVA UNIVERSITY -- NIGHT</span>
</p><p>McKenna points an accusatory finger at Kelly.</p><p>GOV. MCKENNA<br/>Detainment centers? They belong in<br/>jail. Mutant or otherwise, it’s all<br/>crime. And I’ve been tough on crime<br/>for much longer than you’ve been<br/>talking about mutants, Senator.<br/>Your record does not speak to you<br/>being tough on anything.</p><p>A strong showing of APPLAUSE.</p><p>MODERATOR<br/>Senator Kelly, thirty seconds to<br/>respond.<br/><em>(off Sen. Kelly’s silence)</em><br/>...Senator Kelly?</p><p>Kelly keeps his head down, pondering. Then...</p><p>SEN. KELLY<br/>You know what? It’s true. I haven’t<br/>always been tough on crime. But<br/>good leaders know when they need<br/>help. And so I’ve reached out to a<br/>friend ofmine, Reverend William<br/>Stryker, who we all know has been<br/>an invaluable public servant in our<br/>military-- and in our churches--<br/>for guidance in protecting this<br/>country. And I am proud to have his<br/>endorsement.</p><p>APPLAUSE.</p><p>
  <br/>
  <span class="u">EXT. HIGHWAY 63 - MOMENTS LATER</span>
</p><p>BAMF. Kurt appears and MULE KICKS Purifier 2 in mid-air, who DROPS his tethered rifle. He then BAMFS away just as quickly.</p><p>With his free arm, Logan SLICES the other tether. Purifier 4 panics, slashes at Logan’s neck. Logan HOWLS.</p><p>THE REST HAPPENS QUICKLY. Logan runs his claws under the jaw of Purifier 4 and up through his skull. Purifier 5 OPENS FIRE, but it’s futile. Logan pounces on him, tearing his face to shreds as the gun empties.</p><p>Another harpoon shoots through Logan’s chest from behind. Logan pulls it through, yanking Purifier 2 towards him, then plunging both claws into his chest. Purifiers 1 and 2 charge with knives and handguns. FIRING and SLASHING with abandon.</p><p>Kurt watches from a few hundred feet away. Listening to the carnage echo. He walks forward tentatively. An ENGINE STARTS and he sees the white van take off.</p><p>He gets closer and sees Logan HACKING away at the corpses of Purifiers 1 and 2. Overkilling. No longer a man. A berserker.</p><p>KURT<br/>Logan... Logan?</p><p>Logan turns to him. Pupils jet black, completely dilated. He’s DROOLING, HEAVING like a dog in heat.</p><p>He charges, knocks the Bible out from Kurt’s coat. Pins Kurt down. Baring teeth.</p><p>KURT (CONT’D)<br/>Logan. It’s me! Kurt! It’s Kurt!</p><p>Logan’s breathing slows. His pupils shrink, claws recede. He looks around, coming out of it.</p><p>LOGAN<br/>Wha-- Whu-- Did I hurt you?</p><p>SIRENS in the distance. Faint blue and red light.</p><p>KURT<br/>The bike...</p><p>Logan turns behind him, towards the lights. Realizing. He gets off Kurt and puts the Purifiers’ motorcycle upright. He POPS a claw and jams it in the ignition. STARTS it.</p><p>Logan looks at Kurt. Kurt hesitates.</p><p>LOGAN<br/>Get on!</p><p>Kurt climbs on back. Logan takes off. They speed up, and then disappear in a cloud of orange smoke.</p><p>SEN. KELLY (O.S.)<br/>Mutants are dangerous. There’s no<br/>two ways about it. But that is not<br/>something I take lightly, despite<br/>what the governor would have you<br/>believe. That is why I wrote this<br/>bill, and why I stand by it.</p><p>
  <br/>
  <span class="u">INT. ISMAEL'S APARTMENT/MUTANT TOWN HIGH-RISES - NEW YORK, NY -- NIGHT</span>
</p><p>Ismael sits on the couch with Lorelei, watching the debate on TV. Angie and Artie are asleep on the floor.</p><p>SEN. KELLY (ON TV)<br/>But it’s going to take us coming<br/>together as a nation, all kinds,<br/>all--</p><p>MODERATOR<br/>I’m sorry Senator. I really hate to<br/>do this, but we have breaking news.<br/>At least five people have been left<br/>dismembered on an Iowa highway in<br/>what appears to be a mutant attack.<br/>This was not at a detainment<br/>center, these appear to have been<br/>private citizens.</p><p>Ismael leans forward.</p><p>
  <br/>
  <span class="u">INT. XAVIER MANOR - SALEM CENTER, NY -- NIGHT</span>
</p><p>Jean watches TRISH TILBY reporting on TV. Scott enters.</p><p>SCOTT<br/>Professor’s on his way back with<br/>Ororo, but that’s it. She’s as good<br/>as two or three of the others if<br/>you ask me though.<br/><em>(beat)</em><br/>What happened to the deba--</p><p>TRISH TILBY (ON TV)<br/>--helicopter images of the most<br/>gruesome mutant attack this country<br/>has seen thus far. There are<br/>already reports that the<br/>Brotherhood is claiming<br/>responsibility--</p><p>Jean turns to Scott. Her eyes well with tears.</p><p>JEAN<br/>As if they needed another reason to<br/>hate us.</p><p>Scott sits, holds her. She buries her face in his shoulder.</p><p>
  <span class="u">INT. GUEST BEDROOM/XAVIER MANOR -- CONTINUOUS</span>
</p><p>The sounds of the TV echo upstairs, where Peter sits at his sister’s bedside.</p><p>PETER<br/><em>(in Russian)</em><br/>We will find a place for us<br/>snowflake. I promise you. It is out<br/>there somewhere.</p><p>He takes her hand, tenderly. Illyana’s eyelid FLUTTERS.</p><p>
  <br/>
  <span class="u">EXT. COURTYARD/XAVIER MANOR -- CONTINUOUS</span>
</p><p>Trees and grass lit by PATIO LIGHT. A TEAR IN EXISTENCE OPENS, a small sliver of pure white light above the lawn.</p><p>The butterfly FLIES out of it.</p><p>
  <strong>END.</strong>
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